ACCESS OF YOUNG PEOPLE TO CULTURE FINAL REPORT

Transcription

ACCESS OF YOUNG PEOPLE TO CULTURE
Final Report
EACEA/2008/01 (OJ 2008/S 91-122802
ACCESS OF YOUNG PEOPLE TO
CULTURE
FINAL REPORT
EACEA/2008/01 (OJ 2008/S 91-122802)
Interarts · Mallorca 272, 9ª planta · 08037 Barcelona · Tel. 34 934 877 022 · Fax 34 934 872 644 · interarts@interarts.net · www.interarts.net
Final Report
EACEA/2008/01 (OJ 2008/S 91-122802
Final report
Final Report
EACEA/2008/01 (OJ 2008/S 91-122802)
Participating experts and acknowledgements............................................................... 6
SUMMARY ..................................................................................................................... 8
English.......................................................................................................................... 8
Résumé - Français ...................................................................................................... 21
Zusammenfassung - Deutsch...................................................................................... 34
1. PRESENTATION OF THE STUDY ......................................................................... 48
1.1. Framework of the study....................................................................................... 48
1.2. Conceptual scope, methodology and structure .................................................... 50
1.2.1. Access and access to culture......................................................................... 50
1.2.2. Objectives and methodology ........................................................................ 51
1.2.3. Structure of the study.................................................................................... 53
1.3. Youth and cultures: a continuous dialogue ......................................................... 54
1.3.1. Youth culture(s)............................................................................................ 54
1.3.2. Cultural construction of youth...................................................................... 55
1.3.3. Juvenile construction of culture.................................................................... 57
1.4. Youth policies, cultural policies and access to culture........................................ 60
1.5. Access of youth to the cultural sector.................................................................. 64
1.6. Previous and existing studies............................................................................... 65
2. LEGAL FRAMEWORK ON ACCESS OF YOUNG PEOPLE TO CULTURE AT
NATIONAL AND TRANSNATIONAL LEVEL ......................................................... 68
2.1. International and European agreements and processes ....................................... 68
2.1.1. United Nations.............................................................................................. 68
2.1.2. Council of Europe......................................................................................... 71
2.1.3. European Union............................................................................................ 71
2.2. National legislations ............................................................................................ 71
2.2.1. Constitutional provisions.............................................................................. 71
2.2.2. Separate laws on access to culture of young people, youth policies or
cultural/educative activities of young people ......................................................... 72
2.3. Comments............................................................................................................ 82
3. CULTURAL (YOUTH) POLICIES AND YOUTH (CULTURE) POLICIES IN
EUROPE......................................................................................................................... 83
3.1. Introduction ......................................................................................................... 83
3.2. EU strategies, programmes and funds ................................................................. 83
3.3. Other institutions and actors in Europe ............................................................... 92
3.3.1. Pan-European level....................................................................................... 92
3.3.2. National level................................................................................................ 94
3.3.3. Sub-national level ......................................................................................... 96
3.4. Policy objectives and actions on national and sub-national level ....................... 97
3.4.1. National policy priorities and objectives ...................................................... 97
3.4.2. National policy documents and strategic plans ............................................ 98
3.4.3. National initiatives and actions................................................................... 100
3.4.4. Sub-national level ....................................................................................... 108
3.5. Civil society actors and access to culture in Europe ......................................... 109
3.5.1. The role of the Private Sector in Promoting Access to Culture ................. 109
3.5.2. Civil society and its role in fostering access to culture amongst young people
.............................................................................................................................. 111
4. TENDENCIES IN YOUTH CULTURE: A EUROPEAN OVERVIEW ................ 115
4.1. Introduction ....................................................................................................... 115
4.1.1. Youth Culture(s) ......................................................................................... 115
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4.1.2. Youth Culture Trends ................................................................................. 118
4.2. Public Culture .................................................................................................... 120
4.2.1. Education .................................................................................................... 120
4.2.2. Museum Culture ......................................................................................... 121
4.2.3. Literary Culture .......................................................................................... 122
4.2.4. Arts ............................................................................................................. 123
4.2.5. Traditional Culture ..................................................................................... 123
4.3. Consumer Culture.............................................................................................. 124
4.3.1. Television Culture ...................................................................................... 124
4.3.2. Media Culture ............................................................................................. 126
4.3.3. Cinema Culture........................................................................................... 126
4.4. Leisure Culture .................................................................................................. 127
4.4.1. Hobby Culture ............................................................................................ 127
4.4.2. Dance and night Culture ............................................................................. 128
4.4.3. Sport Culture .............................................................................................. 128
4.4.4. Festival Culture .......................................................................................... 129
4.4.5. Travelling Culture ...................................................................................... 129
4.5. Music Culture .................................................................................................... 130
4.5.1. Music Production........................................................................................ 130
4.5.2. Music Consumption.................................................................................... 130
4.5.3. Music Preferences ...................................................................................... 131
4.6. Digital Culture ................................................................................................... 132
4.6.1. Chat Culture................................................................................................ 132
4.6.2. Blog Culture ............................................................................................... 134
4.6.3. Mobile Culture............................................................................................ 134
4.6.4. Gaming Culture .......................................................................................... 135
4.6.5. E-Culture .................................................................................................... 136
4.6.6. Social Networking ...................................................................................... 136
4.7. European cultural milieus: a Continuous Dialogue........................................... 137
4.8. Final Commentary ............................................................................................. 141
5. OBSTACLES FOR YOUNG PEOPLE’S ACCESS TO CULTURE ...................... 143
5.1. Time and Money Constraints ........................................................................ 143
5.2. Attitudes ........................................................................................................ 144
5.3. Geographical.................................................................................................. 145
5.4. Other social relations/vested interests ........................................................... 145
5.5. What is on offer ............................................................................................. 145
5.6. Commentary .................................................................................................. 146
6. INSPIRING PRACTICES IN THE FIELD OF ACCESS TO CULTURE OF
YOUNG PEOPLE ........................................................................................................ 147
6.1. Introduction ....................................................................................................... 147
6.2. Examining best practices and youth culture ...................................................... 147
6.3 Typology of Successful practices ....................................................................... 148
6.3.1. Economic catalysts for cultural consumption............................................. 149
6.3.2. Cultural institutions and young creativity .................................................. 150
6.3.3. Connecting with the heritage and community............................................ 152
6.3.4. Mobility and cooperation ........................................................................... 153
6.3.5. Interdisciplinary cultural / art forms and expressions ................................ 155
6.3.6. Engaging young people from diverse backgrounds ................................... 156
6.3.7. Art and creativity in education ................................................................... 158
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6.3.8. New technologies ....................................................................................... 159
6.3.9. Young people as cultural producers and consumers .................................. 161
6.4. Best practices as a part of modern knowledge production processes................ 163
7. CONCLUSIONS ...................................................................................................... 165
8. RECOMMENDATIONS ......................................................................................... 172
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Participating experts and acknowledgements
The project has been carried out by the Interarts Foundation directed by Mercedes Giovinazzo
and coordinated by Annamari Laaksonen with project assistance by Elena Alós, Maria
Giovanna Fara and Dace Kiuliņa.
The experts’ group and team of main authors were composed by Carles Feixa, Rupa Huq,
Annamari Laaksonen, Leena Suurpää and Lidia Varbanova.
A large portion of the information in this study is based on the information obtained from
national reports prepared by correspondents in each Member State. The national
correspondents were: Annie Tubadji (Austria), Olga Van Oost (Belgium), Annie Tubadji
(Bulgaria), Pavla Petrová (the Czech Republic), Elisa Bosio (Cyprus), Pia Pannula Toft
(Denmark), Airi-Alana Allaste (Estonia), Satu Silvanto (Finland), Sonia Vinolas (France), Uta
Staiger (Germany), Helen Doganis (Greece), Margaret Tasi (Hungary), Paraic McQuaid
(Ireland), Cristina Da Milano (Italy), Edgars Bajaruns (Latvia), Egle Rindzeviciute (Lithuania),
Centre d’études sur la situation des jeunes (Luxembourg), Adrian Camilleri (Malta), Olga Van
Oost (the Netherlands), Anna Stepniewska (Poland), Rui Gomes (Portugal), Anda Becut
(Romania), Elena Gallová Kriglerová (Slovakia), Tamara Bračič (Slovenia), Jordi Baltà (Spain),
Egle Rindzeviciute (Sweden), Sian Lincoln (United Kingdom). In addition, the case study on
StrangerFestival was prepared by Tommi Laitio.
The authors would like to thank several people that have collaborated in this study or have
offered valuable information. These people include Miklusicsak Aliz, Teresa Alves (Fundaçăo
Calouste Gulbenkian), Stijn Bannier (Free University Berlin), Gabriele Bauer (Kulturkontakt
Austria), Katrin Behrens (TUSCH, Berlin), Uta-Christina Biskup (Federal Department for Family,
Senior Citizens, Women and Youth, Germany), Nataša Bucik (Ministry of Culture of Slovenia),
Damien Cerqueus (JOC France), Annalisa Cicerchia (ISAE-Istituto di Studi e Analisi
Economiche), Marie-Hélène Cussac (Generation Europe), Aline de Castro, Martina De Luca
(Eccom-European Centre for Cultural Organisation and Management), Andrée Debra (Centre
Information Jeunesse, Luxembourg), Marta Debreczy, Beata Engels Andersson (Ministry of
Education of Denmark), Fernando Espadinha (Departamento de Informaçăo, Comunicaçăe
Relaçôes Internacionais, Instituto Português da Juventude), Eva Falster (Ministry of Culture of
Denmark), Michelle Freeman (Tate Gallery, Liverpool), Werner Frömming (Department for
Culture, Media and Sport, Hamburg), Angela Gentille (East Lothian Council), Bettina Gerigk
(Secretariat of the Standing Conference of the Ministers of Education and Cultural Affairs of the
Länder in the Federal Republic of Germany), Annie Gosling (Liverpool John Moores University),
Henrike Grohs (Goethe Institute), Christel Hartmann-Fritsch (Genshagen Foundation,
Germany), Julie Hervé (EUROCITIES), Zsuzsa Hunyadi, Cécile Huyghe (JOC France), Peter
Inkei (Regional Observatory on Financing Culture in East-Central Europe), Dörte Inselmann
(Hip Hop Academy Hamburg), Agnija Jansone (European Youth Forum), Maria João Lima
(Onservatório das Actividades Culturais), Michael Kaiser (Theater Freiburg), Marc Kayser (City
of Luxembourg, Service de la Jeunesse), Maria Kolcseyne Balazs, Aleksandra Litorowicz,
Emilia Lissichkova, Carina Lopes, Miguel Magalhães (Fundaçăo Calouste Gulbenkian), Barbara
Meyer (Fonds Kulturelle Bildung Berlin), Reinhard Mohaupt (Federal Department for Education
and Research), Nickianne Moody (Liverpool John Moores University), Lien Mostmans, (Free
University Brussels), Adam Nagy, Barbara Neudlinger (Kulturkontakt Austria), Elna Roig,
Claudia Rosignoli, Sebastian Saad (Office of the Federal Commissioner for Cultural and Media
Affairs, Germany), Kim Schortgen (Service National de la Jeunesse Luxembourg), Ajda Šoštarič
(independent journalist), Tamsin Spargo (Liverpool John Moores University), Sandor Striker,
Yannis Tzioumakis (University of Liverpool), Eva Van Passel (Free University Brussels), Peter
Winkels (Next – Intercultural Projects), Rolf Witte (The German Federation for Cultural Youth
Education).
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The team would especially like to thank Maria Giovanna Fara for the preparation of a
background document for the study. Parts of the document have been directly used in this
study.
The text of the study has been proofread by Talia Soldevila Nightingale. The French translation
has been prepared by Emilie Vidal and the German version by Fabienne Schmidt.
The authors would like to thank the EACEA Youth Unit for their support to this study.
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SUMMARY
English
“Access of young people to culture as actors or users is an essential condition for their
full participation in society. Access to culture can reinforce awareness of sharing a
common cultural heritage and promote active citizenship open to the world.
Involvement in cultural activities can allow young people to express their creative
energy and contribute to their personal development and their feeling of belonging to a
community” – from the Call for Tenders1.
The study has been elaborated in 2009 through the participation of many parties. Apart
from the coordinating team, five project experts and 27 national correspondents, the
study has received valuable input from the European Commission, youth organisations
and young people themselves. Most of the information gathered has been received
from the national correspondents who elaborated extensive reports based on a
questionnaire.
Scope of the study
According to the UNESCO Recommendation on Participation by the People at Large in
Cultural Life and Their Contribution to it (1976), access to culture means concrete
opportunities available to everyone, in particular through the creation of appropriate
socio-economic conditions, for freely obtaining information, training, knowledge and
understanding, and for enjoying cultural values and cultural property.
In this study, access in cultural life is understood as a fundamental right of young
people to participate in the society as members of full rights and responsibilities.
Without access to culture and participation in cultural life people do not have the same
possibilities to develop the social and cultural connections that are important to
maintaining a satisfactory coexistence in conditions of equality.
Within the framework of the study, the concept of culture includes all cultural and
artistic activities: performing arts, visual and plastic arts, music, cultural heritage and
architecture, literature.
The central target group for the study is people between 15 and 24 years; secondary
attention has been given to children from 12 to 15 and young adults from 24 to 29.
The authors examine polices and legal frameworks, cultural offer and opportunities,
public and private actors at national, regional, local level. The study describes current
trends in youth culture in Europe, identifies obstacles of young people to access
culture, names studies and statistics, and catalogues inspiring and successful
examples from different countries. The richness of the field also represents one of its
greatest challenges; the difficulty to compare between different structures, systems and
examples. Therefore this report should not be taken as a comparative study on
different countries but as a snapshot of the opportunities of young people to access
culture, in particular through the analysis of existing national practices in the field of
access of young people to culture.
1
The study has been commissioned by the Youth Unit of the Executive Agency of Education, Culture and Audiovisual of
the European Commission, in the framework of article 5(2) of the Youth in Action programme.
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Cultural policy documents and programmes as regards “access of young people to
culture” comprise the following main aspects:
¾ Young people as users, buyers, consumers, audiences. This is mainly related
to cultural participation, aiming at facilitating access of young people to certain
cultural organisations having high quality programming, and certain added
value, which are less attended by young people. These are: museums, national
and regional galleries, operas and drama theatre performances, symphonic
orchestra concerts, libraries, etc. A commonly used policy measure is offering
subsidized prices, seasonal tickets, decreased subscription schemes, or free
access for young people. The responsibility for attracting young people as
regular users is in the hands of policy-makers but should be also in the focus of
attention of marketing and public relations specialists and departments in
cultural organisations, attempting at attracting young people as an especially
targeted market segment.
¾ Young people as active participants and creators of arts. This aspect is very
tightly connected with educational policies at all levels – from the primary and
secondary school to higher education, life-long learning and vocational training.
There is a need for a better cooperation between players and programmes
related both to cultural and educational policies and instruments in regard to
arts education. Policies related to culture and arts as part of leisure time of
young people include motivation of young people to be involved in amateur art
forms, community art, art related to social change.
Along the years, access has changed forms. Apart from classic channels and
institutions, youth culture channels are dynamic and often informal, and many times do
not enjoy official recognition. The ways young people access culture as users or
creators, or simply participants of a cultural experience, are various and sometimes
experimental. Access to culture goes beyond accessing cultural products, attending
spaces and receiving information, it is also about an experience of personal
development and enjoyment.
In a 2007 Eurobarometer study, respondents were asked how many times, if at all, they
had taken part in various cultural activities (cultural consumption) over the last 12
months. 82% of those aged 15-24 had gone to the cinema in the past year, compared
to 24% of those aged 55 and over. A quite important gap was also to be found for other
activities such as attending concerts or reading books. In general, participation in
artistic activities tends to be lower than cultural consumption. Participation rates are
higher amongst the youngest age groups: dancing is the most frequent activity (29%
amongst those aged 15-24).
At the same time, studies indicate that disadvantaged young people also face fewer
opportunities to access culture (according to their own perception, this would be mainly
for lack of time, lack of money or geographical limitations).
In order to cover a vast range of subjects, the study has been structured so that each
of the chapters forms an independent unit that concentrates on a specific theme.
Chapter one includes the conceptual introduction and description of previous studies.
Chapter two describes international and national legal provisions and specific
legislations related to the access of young people to culture. Chapter three defines
administrative structures, policies, actors, programmes, initiatives, processes and
policy priorities. Chapter four presents youth culture tendencies and common elements
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in the current European youth culture. Chapter five concentrates on obstacles to
cultural participation. Chapter six classifies existing good practices. Conclusions are
presented in Chapter seven and Chapter eight includes policy recommendations.
Legal background, strategies and responsibilities
The laws that would handle the issue of access of young people to culture are almost
non existent, and it might reflect that youth access to culture is still not considered one
of the priority issues in youth or cultural policies.
However, the issues of access to culture or cultural participation of young people are
reported as being addressed in youth policy documents and strategic plans of 11 EU
countries, while youth specific issues are reported in the Culture policy documents and
strategies of 5 Member States.
Access of young people to culture is understood by cultural policy makers mainly as
the need to implement policy instruments to increase the access primarily to classical
and traditional forms of art and culture, such as cultural heritage sites, visual arts
(museums and galleries), performing arts (theatres, opera halls, etc.), libraries, cultural
and community centres, as well as all other forms of cultural supply, offered primarily
by the subsidised cultural organisations, benefiting by state funding. Access to
contemporary “fringe” forms of art and artistic experiments, institutionally represented
mainly by non-profit organisations, as well as access to media-related art forms and
entertainment (leisure) industry branches having artistic/cultural elements, are less or
not at all considered by cultural policy documents and programmes. Cultural policies
indeed tend to consider access of young people to culture as something related to
‘leisure’.
In most of the Member States, the official institutions in charge of developing and
implementing youth policies and access to culture at national level are the Ministries of
Culture and Ministries of Education. Most of the countries report that both ministries
split the policies and responsibilities for youth and youth access to culture. In some of
the countries, decentralisation of cultural administration and federal state administration
has also given decision powers to regional governments.
•
•
Educational policies (formal or non-formal) include arts education. In some
cases, the Education Ministries deal with preparing young people to find
appropriate work corresponding to their educational backgrounds, needs and
expectations, including finding work in the arts and culture sector,
corresponding to their talents and interests in the arts. Arts education is an
important aspect of access to culture for young people, as it creates needs to
participate and enjoy art from an early age. In the case of employment policies
related to the cultural sector, joined programmes between the ministries of
education and ministries of labour/social affairs are set up.
Cultural policies are directed towards providing wider access to cultural
institutions and events, including vulnerable groups of the population. Children
and young people are often considered as one of them.
A majority of the Member States report arts and culture education as a primary focus of
youth policy priorities related to access to culture.
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Youth & Culture – Youth culture trends
The ways young people access culture as users or creators, or simply participants of a
cultural experience, are various and include, apart from classic channels and
institutions, dynamic youth culture channels.
That is why, when looking at the cultural activities in which young people are involved,
the study emphasises both
•
the cultural construction of youth (the ways through which cultural institutions model
young peoples lives); and
•
the juvenile construction of culture (the ways through which young people
participate into cultural life). This includes the Youth Culture Trends (cultural
phenomena experienced by young people that can become relevant for the whole
generation or the surrounding society).
Current Youth culture trends in Europe can be described through the following
mechanisms:
- Juvenilisation - Extension of youth lifestyles across the life cycle
- Acculturation - Extension of the concept of culture to areas that traditionally have not
been considered as part of the cultural sector. Research suggests that a relative
openness to cultural expressions of all types characterizes youth — perhaps even to a
greater extent than it characterizes adults.
- Commercialisation - Extension of cultural products and activities through the teenage
global market of commodities
- Prosumerisation - Young people being at the same time producer and consumer of
culture
- Individualisation - Extension of young social categories in terms of personal identities
- Fragmentation - diversification of youth culture trends into different heterogeneous
scenes and tribes
- Globalisation/localisation - Realisation of inter-dependence, decreasing of distance
due to communications technology, travel and spread of new international power-blocs,
combined with an emphasis on and interactions in immediate surroundings and
environment.
Transculturalism - production of youth identities from the periphery and the
hybridisation of youth cultures
Empowerment - Culture appears as a tool in the fight against any form of social
discrimination
Digitalisation - Extension of cyberspace practices in almost all the social dimensions of
everyday life of young people.
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Inspiring practices
The Study lists the following typology of good practices in promoting youth access to
culture:
• Economic catalysts for cultural consumption
These are examples of financial incentives provided by special cards or passes
providing discounts for young people's access to cultural activities. Examples are such
as the European Youth Card which is currently available in 24 EU Member States, free
access to museums for young people under 26 in France or one-euro access
campaign in Flanders-Belgium, BogStart for books and reading in Denmark, cultural
vouchers in some regions in Spain, etc.
• Cultural institutions and young creativity
These are mainly examples of specific youth culture initiatives or centres, such as, inter
alia, The Young Tate in Liverpool (UK) – this gallery is at the same time one of the
major local centres of contemporary art and young people’s own community arena, the
Youth Culture Club Siperia (Finland), a platform for independent art and cultural action
of young people, or the Hip-hop Academy Hamburg (Germany).
• Connecting with heritage and community
This includes projects aiming at enabling young people to access local heritage or
cultural community, mostly through the use of new technologies. Examples are as
diverse as Chitalischte, youth cultural centres, established in Bulgaria more than 100
years ago, Museum Online, a cooperation programme between museums and schools
in Austria, or AmuseeVous, a Flemish and Brussels-based volunteer group bridging
museums and young people in Belgium.
• Mobility and cooperation
This includes networking activities either for providing young people’s cultural services,
or for connecting young artists. Examples are such as Valhalla (Nordic Council of
Ministers’ Portal for children and youth culture), or EUnetART, the European Network
of Art Organisations for children and young people, based in Amsterdam.
• Interdisciplinary cultural / art forms and expressions
This kind of initiative tries to provide shared spaces for new forms of cultural
interactions and interdisciplinary expression of young people. For instance, Unidos por
el Flow is an association in Barcelona (Spain) for young people involved in the gangs
and street life. The initiative tries to promote cultural dialogue between different youth
communities through hip-hop, dance and theatre. Other examples are Stanica, a
railway station used also as a cultural centre and a meeting point in Slovakia, or
Kultuuritehas (Culture Factory) in Tallinn, Estonia.
• Engaging young people from diverse backgrounds
This encompasses activities to foster access to and participation in culture of young
people from disadvantaged background, or young migrants. One could mention, for
instance, the Programs of multicultural education, in the Czech Republic, the campaign
La jeunesse [ça] se cultive by the NGO Jeunesse Ouvrière Chrétienne in France, or
C:NTACT in Denmark (this project works through theatre, media, writing, and
education units, where young professionals guide young people from different cultural
backgrounds to tell their stories).
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• Art and creativity in education
These are examples of initiatives on culture and creativity within the educational
curriculum. Inspiring examples include The Creative Partnerships programme in the
UK.
• New technologies
These projects are using new technologies, particularly internet, to promote access and
cultural participation. Examples are such as the Library for Youth in Spain, or the
multimedia tool Treasure Quest in Bulgaria.
• Young people as cultural producers and consumers
These kinds of initiatives promote intercultural exchange and mobility of young people;
give them the opportunity to show their capacities in cultural and artistic activities.
Examples include the StrangersFestival for young video makers in the Netherlands,
'Youth Initiatives' Project in Cyprus, the possibility for young people aged 16-27 to
apply for a year-long voluntary internship in cultural institutions in Germany, or the Arts
Award (UK) which supports young people to develop as artists and arts leaders.
Main Conclusions
¾ Young people are not a homogeneous group and need differentiated,
coordinated and long-term policies for accessing culture, even if the same
trends can be observed in most of the countries.
There are differences between young people in urban environment and in rural
environment, differences between young people in interactive, cosmopolitan and
diverse urban environments and young people in more homogenous and closed
urban environments. There are also differences between countries where youth
culture is more marked by the ‘new comers’ – recent immigration – and countries
where there is a longer tradition of cultural diversity.
¾ Access of young people to culture is attracting a growing interest at all policymaking levels (international, European, national, regional and local)
Besides EU level recent works, cultural policies carried out in the Member States
include more and more actions related to youth access to culture, and the potential
of culture in overcoming discrimination, enhancing social cohesion and creating
opportunities is increasingly recognised by policy-makers. The actions undertaken
are particularly strong in areas related to heritage, employment, mobility, cultural
consumption and participation, arts education, amateur arts, preservation of
minority cultures and social cohesion whereas they tend to reply less to
contemporary and media-related forms even though new technologies and
digitalisation are on the rise of the priority list.
¾ Money, geographical constraints and time, remain the main obstacles in terms
of access of young people to culture
Young people’s access to culture does not only depend on resources and funding
but it helps. The national reports show that as regards access to cultural life, major
obstacles are money constraints, attitudes (not only of the public in general but of
young people themselves), geographical limitations (dichotomy between urban and
rural environments, lack of physical access such as transport), time (at least in the
perception of young people), social environment, and also what is on offer meaning
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that the offer does not always meet with the needs and necessities of the young
public.
¾ Family and social environment are fundamental elements in encouraging
cultural participation
Social relations, family/social environment and school have an essential importance
in building young people’s access to culture. The studies also show a link between
cultural upbringing and participation.
¾ Digitalisation can be used as a motor of cultural participation
Creativity and innovation, related to the life and the future of young people, are
strongly connected to the new technology, the creative use of Internet, and the way
young people accumulate, analyse and disseminate information and knowledge.
The digital cultural environment is a key factor in today’s youth culture and its
impact is still largely not exploited.
¾ Better knowledge on youth participation and access to culture should be
developed
There seems to be a lack of information and research on various issues related to
our theme, despite of the existence of national research centres in several
countries, aiming at increasing the understanding and knowledge of youth policies,
youth culture, lifestyle, preferences, needs and trends.
¾ More specifically, there is a need to evaluate what young people themselves
consider important in terms of access to culture and cultural offer, as well as
what their expectations for the future are
There is still little information available on the evaluation of young people
themselves of the cultural offer, structures and opportunities, and their expectations
on the required support for participation in cultural activities.
¾ The media image of young people should be improved
Young people are probably one of the most visible groups in the society. However,
the media image of youth culture and young people is often negative. Young
people in different countries seem to require more visibility as youth itself and youth
culture in general, as well as access to cultural knowledge of other cultures.
¾ Access to information should be further explored
Access to information seems to be a crucial theme in many countries; information
tends to be disperse and hard to localise. The same problem seems to bother the
dissemination of successful experiences; there are several experiences in Member
States but they tend to be very local and in a local language. Therefore it is difficult
to obtain information on them. A portal of European successful experiences could
be a useful tool.
¾ Volunteering is an important part of cultural participation
As regards the actors in the field at regional and local level there exists a wide
panorama of cultural organisations and voluntary associations that are working to
promote culture for young people. Even if not explicitly asked in the questionnaire,
the national correspondents underlined that volunteering is an important part of
cultural participation. There are a number of strong networks for children and youth
culture that are promoting cooperation and sharing experiences in the field.
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¾ Relationships with civil society and role of the private sector are to be explored
The private funding in the youth field is largely a non-explored field and can give
quite interesting results as in countries such as Germany where private donations
form a big part of investment.
Recommendations
I. Proposals to the European Institutions
The European institutions should act in the following areas:
1. Exchanges of information
► Facilitate exchange and visibility of good practices between the Member States in
order to raise awareness on the issue
► Set up a European pool of successful examples and mechanisms involving young
people in diverse cultural activities
2. Involvement of EU stakeholders
► Encourage European networks in the fields of culture & arts and of youth to take on
board issues related to young people’s access to culture and to create partnerships
between youth and culture fields
3. Access to other cultures
► Encourage young people’s knowledge about cultures and cultural heritage in other
European countries eventually through new technologies and educational and
exchange programmes
4. Better knowledge
► Support EU level research in the field of youth cultures, creativity, cultural
citizenship and the role of culture in social cohesion
► Develop data collection and statistics on youth access to culture within the EU.
II. Proposals to the Member States (national, regional or local levels)
1. Include “access to culture” as one of the important priorities in all policies
regarding young people
Access to culture is strongly connected with education, youth, employment, cultural
and media policies. Access of young people to culture is better promoted if young
people’s perspectives are included in the cultural policies and access of young people
to culture in youth policies, and if partnership is pursued between different fields.
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Therefore, the Member States, regional and local administrations should
► Look for synergies and cooperation between different policies and programmes in
the above-mentioned action fields and include young people as a priority group in
all future policies, programmes and actions in the fields of culture and media
policies, with special attention given to young people in vulnerable situations.
► Further develop and strengthen existing bodies and structures through
partnerships, revision of policies and programmes, setting up goals and planning.
2. Develop normative and legislative tools on the access of young people to
culture
The legislation related to access of young people is still underdeveloped and does not
reflect the developments within the culture and youth field. The legal framework of the
Member States is in great part in a need of updating and specification.
Therefore, the Member States should:
► Open legislative processes for normative tools on fostering the access of young
people to culture.
► Develop systems for the follow-up of existing legislation.
► Put special attention to the legal framework related to the access of young people
from vulnerable groups (young people with disabilities, minorities, immigrant
groups).
3. Develop sustainable and long term policies related to youth access to culture
There is a need for constructive dialogue between all key actors and stakeholders at all
levels in a synchronised and collaborative manner in order to plan strategic approaches
and future challenges.
Therefore, the Member States should:
► Survey the needs and necessities of young people as regards cultural offer and
equipments.
► Provide access to spaces for gathering, creativity, peer-learning and cultural
activities for meaningful leisure time
► Promote involvement in community work and volunteering services in relation with
the access of young people to culture
► Initiate dialogue and cooperation with the private sector through common
strategies.
► Facilitate communication between cultural institutions and young people, and
promote programmes on cultural contents adjusted to the expectations of young
people.
► Develop differentiated policies and programmes for different youth groups.
► Envisage fiscal benefits for private institutions that work actively to develop youth
access to culture and invest on research on the involvement of the private sector.
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4. Take affirmative action in reducing obstacles for young people to access
culture
In the national reports elaborated for this study several elements have been identified
to be related to time and money constraints, attitudes, lack of transport, geographical
disadvantages and the incompatibility between cultural offer and the interests of young
people.
Therefore, Member States should:
► Survey the main obstacles for young people to access culture in the given country /
region.
► Set up strategies to lower entrance costs for cultural institutions and more youthfriendly informal environment of cultural offer.
► Adjust timetables, cost and security of public transportation to facilitate the access
of young people to cultural institutions and services.
► Promote self-generated organised activities for young people instead of ‘top-down`
structures.
► Involve young people in decision-making processes to the extent possible.
► Encourage dialogue between school and local authorities to make local cultural
offer adjust to the needs of young people.
► Encourage cultural participation of young people in disadvantaged geographical
areas (rural, economically challenged, islands, etc.) through new technologies,
specific programmes and displacement of cultural activities to remote or
disadvantaged areas.
► Promote family activities in order to engage young people in cultural activities from
an early age, and family policies on cultural understanding, information, gender
equality and cultural diversity
► Strengthen information channels both on existing cultural offer and on eventual
discounts/reductions available for young people.
5. Encourage and support education, training and capacity-building
The educational sector is one of the main allies in fostering access of young people to
culture. For the young people to be able to access culture, it is crucial to encourage
cultural and art education, training and capacity- building for all young people at formal,
non-formal, in-school and out-of-school levels.
► Promote specialised training for teachers, youth workers and culture professionals
in youth cultures, new technologies, intercultural competences, arts education,
cultural rights and cultural awareness with special emphasis on access to culture.
► Develop channels and opportunities for young people to enlarge their cultural and
creative expressions and development, in or outside of school.
► Increase opportunities for young people to work in the cultural sector starting, for
example, with volunteering or internships, thereby promoting safe and inspiring
spaces for the development of creativity.
► Involve public institutions, cultural organisations and civil society actors in the
process of building bridges between education/skills and employment of young
people and, fostering therefore young people’s active citizenship.
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► Set up employment programmes, social entrepreneurship schemes and small
funding programmes for young creators, artists and cultural professionals, as well
as youth associations and organisations.
6. Promote visibility and knowledge of youth cultures
The national reports elaborated for this study show that, even if young people are one
of the most visible members of a society, their image is often processed as
unfavourable, negative and problem-filled. For young people to be able to participate in
the society as members of full rights and responsibilities, and feel themselves
recognised and respected, there is a need for a change in this projection.
► Promote information on youth cultures, creativity and expression.
► Set up specific channels for young people to display their creative material in
public (festivals, TV programmes, and other channels).
► Promote partnership between youth groups, creative sectors and youth workers.
7. Promote access to culture as part of strategies of social inclusion, antidiscrimination and equality
Regardless of growing multiculturality in Europe there is a need for more strategies
where cultural policies and actions can be seen as an important element of antidiscrimination policies and concrete practices against racism and inequality. The
actions in this field should be long-term, systemic and structurally promote access.
Actions in this field foster understanding and respect for cultural diversity, develop
intercultural skills and, stimulate passive and disadvantaged young people to
participate in cultural experiences.
► Implement programmes and strategies to support access to culture for young
people from vulnerable groups (culture networks, educational programmes,
intercultural working groups, etc.), thereby promoting social cohesion.
► Set up specific programmes for people and organisations that work with young
people on themes such as access, cultural rights, programming, marketing,
awareness-raising and creativity.
► Encourage the participation of young people from vulnerable groups in arts and
culture education and creative entrepreneurship.
► Promote the visibility of minority youth in public media.
exchange programmes.
► Encourage language tuition and learning at all levels
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8. Promote the use of ICT and new technologies for cultural purposes among all
young people
The digital environment is a key factor in today’s youth culture; it can be used as a
vector of cultural participation.
► Facilitate access to new technologies for all young people in order for them to
develop their cultural, creative and expressive skills.
► Encourage the communication and media literacy skills of young people, also in
their role of arts creators online.
► Develop a critical approach to the quality of online information, always taking into
account safety aspects regarding internet use.
► Foster information on intellectual property, proper use of Internet and social
responsibility.
► Promote creative use of ICT through programmes and specific tools.
9. Support research, knowledge building and information exchange
Research and information is needed from different areas in order to build a knowledge
base for policies and strategic planning.
► Support research in the field of youth cultures, creativity, cultural citizenship and the
role of culture in social cohesion.
► Develop a set of indicators and follow-up systems to measure the access of young
people to cultural institutions, activities, equipments, education, cooperation and
intercultural communication.
► Identify themes for further research together with research professionals and young
people.
III. Proposals for the civil society
1. Cultural institutions should help providing access to enabling and supportive
environments for young people to access culture and creative expression
► Carry a more proactive role in issues related to young people’s access to culture.
► Develop initiatives where young people are involved in all levels of decision-making
(planning of programmes, management of budget, maintenance, marketing, design
of activities, etc.).
► Engage in specific communication towards young people regarding their activities,
in particular through digital educational instruments, other methods of new
technologies and specific programmes on cultural contents adjusted to the
expectations of young people
► Participate in public efforts for reducing obstacles for young people to access
culture
► Contact private foundations and donors in order to engage them in working in
favour of youth access to culture
► Adjust timetables of cultural activities addressed to young people in order to
synchronise with the daily lives of the young people.
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► Promote self-generated organised activities for young people
2. Youth organisations and those active with young people should also play an
active role in promoting youth access to culture.
► Develop partnerships with creative sectors
► Encourage culture related-projects for young people in their activities.
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Résumé - Français
«L'accès des jeunes à la culture en tant qu'acteurs ou utilisateurs est une condition
essentielle de leur pleine participation à la société. L’accès à la culture peut renforcer
la conscience de partager un patrimoine culturel commun et promouvoir une
citoyenneté active et ouverte sur le monde. Participer aux activités culturelles peut
permettre aux jeunes d'exprimer leur énergie créative et contribuer à leur
développement personnel et à leur sentiment d'appartenance à une communauté »extrait de l'Appel d'Offres2.
L'étude a été élaborée en 2009 grâce à la participation de nombreux intervenants.
Outre l'équipe coordinatrice, cinq experts de projets et 27 correspondants nationaux,
l'étude a bénéficié des apports de grand intérêt de la Commission européenne, des
organisations de jeunes et des jeunes eux-mêmes. La plupart des informations
recueillies proviennent des correspondants nationaux chargés d’élaborer des rapports
détaillés à partir d’un questionnaire.
Portée de l’étude
D’après la Recommandation de l'UNESCO concernant la participation et la contribution
des masses populaires à la vie culturelle (1976), l'accès à la culture signifie fournir des
opportunités concrètes à tous d’avoir accès librement à l’information, à la formation,
aux connaissances et à la compréhension, en particulier par la création de conditions
socio-économiques appropriées, et de jouir des valeurs et des biens culturels.
Dans cette étude, l'accès à la vie culturelle est perçu comme un droit fondamental des
jeunes à participer à la société en tant que sujets de droits et de devoirs. Sans l’accès
à la culture et la participation à la vie culturelle les individus n'ont pas les mêmes
possibilités de développer des relations sociales et culturelles lesquelles sont
fondamentales pour maintenir une coexistence satisfaisante dans des conditions
d'égalité.
Dans le cadre de l'étude, le concept de la culture recouvre toutes les activités
culturelles et artistiques: arts scéniques, arts visuels et plastiques, musique, patrimoine
culturel, architecture et littérature.
Le groupe de population principalement ciblé par l’étude sont les personnes ayant
entre 15 et 24 ans; sachant qu’une attention secondaire a été portée aux enfants de 12
à 15 ans et aux jeunes adultes de 24 à 29 ans.
Les auteurs ont examiné les politiques et les cadres juridiques, l’offre et les possibilités
culturelles, les acteurs publics et privés aux niveaux nationaux, régional, local. L'étude
décrit les tendances actuelles de la culture des jeunes en Europe, identifie les
obstacles limitant l'accès des jeunes à la culture, cite des études et des statistiques, et
répertorie des exemples inspirateurs et réussis de différents pays. La richesse du
domaine couvert par l’étude représente également un de ses plus grands défis; la
difficulté de comparer les différentes structures, systèmes et exemples. Par
conséquent, ce rapport ne doit pas être vu comme une étude comparative entre
différents pays, mais comme un instantané des possibilités des jeunes d’avoir accès à
2
L’étude a été commanditée par l’Unité Jeunesse de l’Agence Exécutive « Education, Audiovisuel et Culture » de la
Commission Européenne dans le cadre de l’article 5(2) du programme Jeunesse en action.
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la culture, en particulier grâce à l'analyse des pratiques nationales existantes dans le
domaine de l'accès des jeunes à la culture.
Les documents et les programmes de politique culturelle concernant « l'accès des
jeunes à la culture» comprennent les principaux aspects suivants:
¾ Les jeunes en tant qu’utilisateurs, acheteurs, consommateurs, publics. Cet
aspect fait principalement allusion à la participation culturelle, en vue de faciliter
l'accès des jeunes à certaines organisations culturelles disposant d’une
programmation de qualité, et offrant une valeur ajoutée, moins fréquentées par
les jeunes. Il s’agit des musées, des galeries nationales et régionales, des
opéras et des spectacles de théâtre, des concerts d’orchestre symphonique,
des bibliothèques, etc. Une mesure politique couramment utilisée consiste à
proposer des tarifs subventionnés, des billets saisonniers, des systèmes
d'abonnement à tarif réduit, ou l’accès gratuit aux jeunes. Même si la
responsabilité d'attirer les jeunes en tant qu’usagers réguliers incombe aux
décideurs politiques, elle doit aussi être objet de l'attention des spécialistes et
des départements du marketing et des relations publiques des organisations
culturelles, qui tentent d'attirer les jeunes considérés comme un segment de
marché particulier à cibler.
¾ Les jeunes en tant que participants actifs et créateurs des arts. Cet aspect est
étroitement lié aux politiques éducatives à tous les niveaux - de l'école primaire
et secondaire à l'enseignement supérieur, en passant par la formation continue
et la formation professionnelle. Pour ce faire, il faut améliorer la coopération
entre les acteurs et les programmes liés aux politiques et aux instruments
culturels ainsi qu’aux politiques et instruments éducatifs dans le domaine de
l'éducation artistique. Les politiques liées à la culture et aux arts dans le cadre
du temps de loisir des jeunes font référence au fait d’inciter les jeunes à
s’impliquer dans des formes d'art amateur, à l'art communautaire et à l’art lié au
changement social.
Au fil des ans les formes d’accès se sont modifiées. Au-delà des canaux et institutions
classiques, la culture des jeunes est véhiculée par des canaux dynamiques, souvent
informels et, en général, qui ne sont pas officiellement reconnus. Les façons dont les
jeunes ont accès à la culture en tant qu’utilisateurs ou créateurs, ou simples
participants d'une expérience culturelle, sont diverses et parfois expérimentales.
L’accès à la culture va au-delà de l'accès aux produits culturels, de la fréquentation
des lieux et de la réception d’informations, il s'agit également d'une expérience de
développement personnel et de plaisir.
Dans une étude Eurobaromètre réalisée en 2007, on demandait aux répondants
combien de fois, ou aucune le cas échéant, ils avaient pris part à différentes activités
culturelles (consommation culturelle) au cours des 12 derniers mois. Ainsi, 82% des
15-24 ans ont déclaré être allés au cinéma durant l'année écoulée, contre 24% des
plus de 55 ans. Un écart assez important a également été constaté pour d'autres
activités comme assister à des concerts ou lire des livres. En général, la participation à
des activités artistiques a tendance à être inférieure à la consommation culturelle. Les
taux de participation sont plus élevés parmi les groupes les plus jeunes: la danse est
l'activité la plus pratiquée (29% des 15-24).
En même temps, des études indiquent que les jeunes défavorisés ont aussi moins de
possibilités d'avoir accès à la culture (en fonction de leur propre perception, ce serait
surtout dû au manque de temps, d'argent ou à des contraintes géographiques).
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Afin de couvrir une vaste gamme de sujets, l'étude a été structurée de façon à ce que
chaque chapitre constitue une unité indépendante centrée sur un thème spécifique. Le
premier chapitre contient une introduction conceptuelle et une description des études
existantes. Le deuxième chapitre décrit les dispositions juridiques internationales et
nationales et les législations spécifiques relatives à l'accès des jeunes à la culture. Le
troisième chapitre définit les structures administratives, les politiques, les acteurs, les
programmes, les initiatives, les processus et les priorités politiques. Le quatrième
chapitre présente les tendances de la culture des jeunes et des éléments communs
dans la culture actuelle des jeunes Européens. Le cinquième chapitre se concentre sur
les obstacles à la participation culturelle. Le sixième chapitre classifie les bonnes
pratiques existantes. Les conclusions sont présentées dans le septième chapitre et le
huitième chapitre contient des recommandations politiques.
Cadre légal, stratégies et responsabilités
Les lois qui pourraient aborder la question de l'accès des jeunes à la culture sont
pratiquement inexistantes, et cela pourrait refléter le fait que l'accès des jeunes à la
culture n'est pas encore considéré comme une question prioritaire dans les politiques
de jeunesse ou culturelles.
Toutefois, il a été signalé que les questions d'accès à la culture ou de participation
culturelle des jeunes figurent dans les documents de politique de jeunesse et les plans
stratégiques de 11 pays de l'UE, tandis que les questions spécifiques liées à la
jeunesse sont abordées dans les documents et stratégies de politique culturelle de 5
États membres.
L'accès des jeunes à la culture est en grande partie interprété par les décideurs
culturels comme le besoin de mettre en œuvre des instruments politiques visant à
accroître l'accès essentiellement aux formes classiques et traditionnelles d'art et de
culture, telles que les sites du patrimoine culturel, les arts visuels (musées et galeries
d'art), les arts scéniques (théâtres, salles d'opéra, etc.), les bibliothèques, les centres
culturels et communautaires, ainsi que toutes les autres formes d'offre culturelle,
fournies principalement par les organisations culturelles subventionnées bénéficiant de
financements publics. L'accès à des formes d’art contemporaines et à des expériences
artistiques "marginales", en général représentées au niveau institutionnel par des
organisations à but non lucratif, et l'accès aux formes d'art liées aux médias et aux
branches de l'industrie du divertissement (loisirs) contenant des éléments artistiques /
culturels, sont moins ou nullement pris en considération dans les documents et
programmes de politique culturelle. En effet, les politiques culturelles ont tendance à
considérer l'accès des jeunes à la culture comme un élément se rapportant aux
«loisirs».
Dans la plupart des États membres, les institutions officielles en charge de développer
et mettre en œuvre les politiques de la jeunesse et l'accès à la culture au niveau
national sont les ministères de la Culture et les ministères de l'Education. Dans la
plupart des pays les deux ministères se partagent les politiques et les responsabilités
concernant les jeunes et l'accès des jeunes à la culture. Dans certains pays, la
décentralisation de l'administration culturelle et de l'administration de l'État fédéral a
également contribué à conférer des pouvoirs de décision aux gouvernements
régionaux.
•
Les politiques d'éducation (formelle ou non formelle) englobent l'éducation
artistique. Dans certains cas, les ministères de l'Education s’occupent de
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•
préparer les jeunes à trouver un travail approprié à leur formation scolaire, leurs
besoins et leurs attentes, y compris à obtenir un emploi dans le secteur des arts
et la culture, correspondant à leur talent et à leur intérêt pour le domaine
artistique. L'éducation artistique est un aspect important de l'accès à la culture
des jeunes, car elle crée le besoin de participer et de jouir de l'art dès le plus
jeune âge. Dans le cadre des politiques de l'emploi liées au secteur culturel,
des programmes conjoints entre les ministères de l'Education et les ministères
du Travail / des Affaires sociales sont parfois mis en place.
Les politiques culturelles visent à élargir l'accès aux institutions et aux
événements culturels, y compris des groupes de population vulnérables. Les
enfants et les jeunes sont souvent considérés comme un de ces groupes.
Dans la majorité des Etats membres l’éducation culturelle et artistique est au cœur des
priorités des politiques de jeunesse liées à l'accès à la culture.
Jeunesse et Culture - tendances de la culture de la jeunesse
Les façons dont les jeunes ont accès à la culture en tant qu’utilisateurs ou créateurs,
ou simples participants d'une expérience culturelle, sont diverses ; en effet, outre les
canaux et les institutions classiques, la culture des jeunes est véhiculée par des
canaux dynamiques.
C'est pourquoi, quand on regarde les activités culturelles dans lesquelles les jeunes
sont impliqués, l'étude met l'accent à la fois sur :
•
la construction culturelle de la jeunesse (les façons dont les institutions culturelles
modèlent la vie des jeunes), et
•
la construction juvénile de la culture (manières dont les jeunes participent à la vie
culturelle). Cet aspect englobe les tendances de la culture des jeunes
(phénomènes culturels vécus par les jeunes, lesquels peuvent devenir pertinents
pour une génération entière ou pour la société environnante).
Les tendances actuelles de la culture des jeunes en Europe peuvent être décrites par
les mécanismes suivants:
- Juvénilisation - Extension des modes de vie des jeunes tout au long du cycle de la
vie
- Acculturation - Extension de la notion de culture dans des domaines
traditionnellement non considérés comme faisant partie du secteur culturel. Les
recherches suggèrent que les jeunes se caractérisent par une relative ouverture à tous
types d’expressions culturelles - probablement même plus marquée que dans le cas
des adultes.
- Commercialisation - Extension des produits et activités culturelles par le biais du
marché mondial des articles destinés aux adolescents
- Prosommation - Les jeunes sont à la fois producteurs et consommateurs de culture
- Individualisation - Extension des catégories sociales de jeunes en termes d'identités
personnelles
- Fragmentation - Diversification des tendances culturelles des jeunes suivant un
éventail de lieux et tribus hétérogènes
- Mondialisation / localisation - Concrétisation de l'interdépendance, réduction des
distances grâce aux technologies de communication, au voyage et à la propagation de
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nouvelles puissances internationale, combinées à une accentuation du et des
interactions avec le cadre et le milieu environnants.
- Transculturalisme - Production des identités des jeunes de la périphérie et
hybridation des cultures des jeunes
- Renfort des capacités (empowerment) – La culture apparaît comme un outil dans la
lutte contre toutes les formes de discrimination sociale.
- Numérisation - Extension des pratiques liées au cyberespace dans presque toutes
les dimensions sociales de la vie quotidienne des jeunes.
Pratiques inspiratrices
L'étude établit la typologie suivante de bonnes pratiques de promotion de l'accès des
jeunes à la culture:
• Catalyseurs économique de la consommation culturelle
Ce sont des exemples d'incitations financières sous la forme de cartes ou de passes
spéciaux donnant droit à des rabais afin de favoriser l'accès des jeunes aux activités
culturelles. A titre d’exemple il faut citer la carte européenne de la jeunesse
actuellement disponible dans 24 États membres de l'UE, l'accès gratuit aux musées
pour les jeunes de moins de 26 ans en France ou la campagne d'accès à un euro en
Flandre-Belgique, BogStart pour les livres et la lecture au Danemark, les bons culturels
dans certaines régions de l’Espagne, etc.
• Les institutions culturelles et la créativité des jeunes
Ce sont principalement des exemples d'initiatives ou de centres culturels de jeunes
spécifiques tels que, entre autres, la Tate Young à Liverpool (Royaume-Uni) - cette
galerie est à la fois un des principaux centres locaux d'art contemporain et le lieu
communautaire des jeunes par excellence, le Club de la Culture des Jeunes Siperia
(Finlande), plate-forme pour l'art indépendant et l'action culturelle des jeunes, ou
l’Académie de Hip-hop d’Hambourg (Allemagne).
• Rapprocher le patrimoine de la communauté.
Cette rubrique comprend des projets visant à permettre aux jeunes d'avoir accès au
patrimoine local ou à la communauté culturelle, principalement grâce à l'utilisation des
nouvelles technologies. Les exemples sont aussi variés que Chitalischte, centres
culturels de jeunes établis en Bulgarie depuis plus de 100 ans, Museum online,
programme de coopération entre les musées et les écoles en Autriche, ou
AmuseeVous, groupe de bénévoles flamands et bruxellois visant à réconcilier les
jeunes avec les musées en Belgique.
• Mobilité et coopération
Il s’agit d’activités de mise en réseau, soit pour fournir des services culturels aux
jeunes, soit pour mettre en contact les jeunes artistes. Quelques exemples sont
Valhalla (Portail Internet du Conseil nordique des ministres pour la culture des enfants
et des jeunes), ou EUnetART, Réseau européen des organisations artistiques pour les
enfants et les jeunes, basée à Amsterdam.
• Formes et expressions culturelles et artistiques interdisciplinaires
Ce genre d'initiative tente de fournir des espaces partagés pour les nouvelles formes
d'interactions culturelles et d'expression interdisciplinaire des jeunes. Par exemple,
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Unidos por el Flow est une association barcelonaise (Espagne) visant les jeunes
impliqués dans les gangs et la vie dans la rue. L'initiative cherche à promouvoir le
dialogue culturel entre les différentes communautés de jeunes à travers du hip-hop, de
la danse et du théâtre. D'autres exemples sont Stanica, station de chemin de fer
utilisée également comme centre culturel et point de rencontre en Slovaquie, ou
Kultuuritehas (Usine de la culture), à Tallinn, en Estonie.
• Impliquer des jeunes de divers horizons
Il s’agit d’activités visant à favoriser l'accès et la participation à la culture de jeunes
issus de milieux défavorisés, ou de jeunes migrants. On peut citer, par exemple, les
Programmes d'éducation multiculturelle, en République tchèque, la campagne La
jeunesse [ça] se cultive de l’ONG Jeunesse Ouvrière Chrétienne en France, ou
C:NTACT au Danemark (ce projet fonctionne à travers du théâtre, des médias, de
l’écriture, et d’unités d'enseignement, au cours desquelles de jeunes professionnels
incitent des jeunes de différentes origines culturelles à raconter leur histoire).
• L’art et la créativité dans l’éducation
Ce sont des exemples d'initiatives en matière de culture et de créativité dans les
programmes scolaires. Parmi les exemples inspirants se trouve le programme The
Creative Partnerships au Royaume-Uni.
• Les nouvelles technologies
Ces projets utilisent les nouvelles technologies, notamment Internet, pour promouvoir
l'accès et la participation culturelle. Quelques exemples sont la Bibliothèque pour la
jeunesse en Espagne, ou l'outil multimédia Treasure Quest en Bulgarie.
• Les jeunes en tant que producteurs et consommateurs culturels
Ce genre d'initiatives favorise l'échange interculturel et la mobilité des jeunes en leur
donnant l'occasion de montrer leurs aptitudes à travers d’activités culturelles et
artistiques. Parmi les exemples figurent StrangersFestival pour jeunes vidéastes aux
Pays-Bas, 'Youth Initiatives' Project à Chypre, la possibilité pour les jeunes âgés de 16 à
27 ans de postuler pour effectuer un stage volontaire d’un an dans les établissements
culturels en Allemagne, ou le Prix des Arts (Royaume-Uni) qui soutient les jeunes pour se
développer en tant qu’artistes et créateurs.
Principales conclusions
Les jeunes ne sont pas un groupe homogène et ont besoin de politiques
différenciées, coordonnées et à long terme pour avoir accès à la culture, même
si on peut observer des tendances similaires dans la plupart des pays.
Il existe des différences entre les jeunes de milieu urbain et de milieu rural, entre
les jeunes d’environnements urbains interactifs, cosmopolites et diversifiés et les
jeunes d’environnements urbains plus homogènes et fermés. Il existe également
des différences entre les pays où la culture des jeunes est davantage marquée par
les «nouveaux venus» - d'immigration récente - et les pays ayant une tradition de
diversité culturelle plus ancienne.
¾
¾ L'accès des jeunes à la culture suscite un intérêt croissant à tous les niveaux
politiques (international, européen, national, régional et local)
Outre les travaux récents au niveau de l'UE, les politiques culturelles menées dans
les États membres comportent des actions de plus en plus liées à l'accès des
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jeunes à la culture. Ainsi, le potentiel de la culture pour lutter contre la
discrimination, renforcer la cohésion sociale et créer des opportunités est de plus
en plus reconnu par les décideurs politiques. Dans les domaines liés au patrimoine,
à l'emploi, la mobilité, la consommation culturelle et la participation, l'éducation
artistique, les arts amateurs, la préservation des cultures des minorités et la
cohésion sociale, les actions entreprises sont particulièrement dynamiques tandis
qu'elles répondent généralement moins aux formes contemporaines et à celles
liées aux médias, malgré que les nouvelles technologies et la numérisation se
trouvent en tête de liste des priorités.
¾ L'argent et les contraintes géographiques et temporelles demeurent les
principaux obstacles en termes d'accès des jeunes à la culture
L'accès des jeunes à la culture ne dépend pas seulement des ressources et du
financement, mais cela y contribue. Les rapports nationaux montrent qu'en ce qui
concerne l'accès à la vie culturelle, les principaux obstacles sont les contraintes
d'argent, les attitudes (de la population en général, mais aussi des jeunes euxmêmes), les limites géographiques (dichotomie entre les milieux urbain et rural,
absence d'accès physique tel que le transport), le temps (du moins selon la
perception des jeunes), le milieu social, ainsi que l’offre proposée ce qui signifie
que l’offre ne répond pas toujours aux besoins et aux nécessités du public jeune.
Les milieux familial et social sont des éléments fondamentaux pour encourager
la participation culturelle
Les relations sociales, les milieux familial et social et l'école ont une importance
capitale dans la construction de l'accès des jeunes à la culture. Par ailleurs les
études établissent un lien entre l'éducation culturelle et la participation.
¾
La numérisation peut être utilisée comme moteur de la participation culturelle
La créativité et l’innovation, rattachées à la vie et à l'avenir des jeunes, sont
étroitement liées aux nouvelles technologies, à l'utilisation créative d’Internet, et à
la façon dont les jeunes accumulent, analysent et diffusent les informations et les
connaissances. L'environnement culturel numérique est un facteur clé dans la
culture des jeunes d'aujourd'hui et son impact reste largement inexploité.
¾
¾ Une meilleure connaissance de la participation et de l'accès des jeunes à la
culture devrait être développée
Il semble y avoir un manque d'information et de recherche sur diverses questions
liées au thème qui nous occupe, et ce, en dépit de l'existence de centres de
recherche nationaux dans plusieurs pays visant à accroître la compréhension et la
connaissance des politiques de la jeunesse, de la culture, des modes de vie, des
préférences, des besoins et des tendances des jeunes.
¾ Plus précisément, il est nécessaire d’évaluer ce que les jeunes eux-mêmes
jugent important en termes d'accès à la culture et d'offre culturelle, ainsi que
leurs attentes pour l'avenir
On dispose encore de peu d'informations sur l'évaluation des jeunes eux-mêmes
de l'offre culturelle, des structures et des possibilités, et sur leurs attentes vis-à-vis
du soutien demandé pour participer à des activités culturelles.
¾ L'image médiatique des jeunes doit être améliorée
Les jeunes sont probablement un des groupes les plus visibles dans la société.
Toutefois, l'image médiatique des jeunes et de leur culture est souvent négative.
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Dans différents pays les jeunes semblent exiger une plus grande visibilité des
jeunes en tant que tels et de leur culture en général, ainsi qu'un accès facilité à la
connaissance d'autres cultures.
¾ L’accès à l'information doit être davantage exploré
L’accès à l'information semble être un thème important dans de nombreux pays, où
l'information a tendance à être dispersée et difficile à localiser. Le même problème
semble rendre difficile la diffusion des expériences réussies ; ainsi il existe une
multitude d’expériences dans les États membres, mais celles-ci sont généralement
localisées et en langue locale. Il est donc difficile d'obtenir des informations sur ces
expériences. Un portail d’expériences européennes réussies serait un outil utile.
Le bénévolat joue un rôle important dans la participation culturelle
En ce qui concerne les acteurs du secteur au niveau régional et local, il existe un
large éventail d’organisations culturelles et d’associations de bénévoles actives
dans le but de promouvoir la culture pour les jeunes. Même si cela n’a pas été
explicitement demandé dans le questionnaire, les correspondants nationaux ont
souligné que le bénévolat est un élément important en faveur de la participation
culturelle. Ainsi, on recense de nombreux réseaux puissants œuvrant pour la
culture des enfants et des jeunes visant à promouvoir la coopération et le partage
d'expériences dans ce domaine.
¾
Les relations avec la société civile et le rôle du secteur privé doivent être
envisagées
Le financement privé dans le secteur de la jeunesse est un domaine
majoritairement non exploré alors qu’il peut aboutir à des résultats tout à fait
intéressants dans certains pays comme l'Allemagne, où les dons privés
représentent une part importante des investissements.
¾
Recommandations
I. Propositions aux institutions européennes
Les institutions européennes devraient agir dans les domaines suivants:
1. Echanges d'informations
► Faciliter les échanges et la visibilité des bonnes pratiques entre les États membres
afin d’augmenter la sensibilisation sur le sujet
► Mettre en place un pool européen d’exemples et de mécanismes réussis de
participation des jeunes à diverses activités culturelles.
2. Implication des acteurs européens
► Encourager les réseaux européens dans les domaines de la culture, des arts et de
la jeunesse à s’engager dans les questions liées à l'accès des jeunes à la culture et
à créer des partenariats entre les domaines de la jeunesse et de la culture.
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3. Accès à d'autres cultures
► Encourager la connaissance des jeunes des cultures et du patrimoine culturel des
autres pays européens notamment par le biais des nouvelles technologies et des
programmes éducatifs et d'échange.
4. Une meilleure connaissance
► Soutenir la recherche au niveau de l'UE dans le domaine des cultures des jeunes,
de la créativité, de la citoyenneté culturelle et du rôle de la culture dans la cohésion
sociale
► Développer la collecte de données et les statistiques sur l'accès des jeunes à la
culture dans l'UE.
II. Propositions aux Etats membres (national, régional ou local)
1. Inclure « l'accès à la culture » comme une priorité importante dans toutes les
politiques concernant les jeunes
L’accès à la culture est fortement lié à l'éducation, la jeunesse, l'emploi, les politiques
culturelles et les médias. L’accès des jeunes à la culture est mieux développé si les
perspectives des jeunes sont prises en compte dans les politiques culturelles et l'accès
des jeunes à la culture dans les politiques de la jeunesse, et si un partenariat est mené
entre les différents secteurs.
Par conséquent, les États membres, les administrations régionales et locales devraient
► Rechercher des synergies et une coopération entre les différentes politiques et
programmes dans les domaines d'action mentionnés ci-dessus et intégrer les
jeunes comme un groupe prioritaire dans tous les futurs programmes, politiques et
actions dans les domaines de la culture et des médias, avec une attention
particulière accordée aux jeunes en situation de vulnérabilité
► Développer et renforcer les organes et structures existants grâce à des
partenariats, la révision des politiques et des programmes, la définition d'objectifs
et la planification.
2. Développer des outils normatifs et législatifs sur l'accès des jeunes à la
culture
La législation relative à l'accès des jeunes est encore peu développée et ne reflète pas
l'évolution dans le domaine de la culture et de la jeunesse. Le cadre juridique des États
membres a grandement besoin d’être mis à jour et spécifié.
Par conséquent, les États membres devraient:
► Ouvrir des processus législatifs pour créer des instruments normatifs sur la
promotion de l'accès des jeunes à la culture
► Développer des systèmes de suivi de la législation existante
► Porter une attention particulière au cadre juridique relatif à l'accès des jeunes issus
des groupes vulnérables (jeunes en situation de handicap, minorités, groupes
d'immigrants).
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3. Développer des politiques durables et à long terme concernant l'accès des
jeunes à la culture
Il existe un besoin de dialogue constructif entre tous les acteurs clés et les parties
prenantes à tous les niveaux de manière synchronisée et collaborative afin de planifier
les approches stratégiques et les défis futurs.
► Enquêter sur les besoins et les nécessités des jeunes en matière d'offre et
d’équipements culturels
► Donner accès à des espaces de rassemblement, de créativité, d'apprentissage
entre pairs et d’activités culturelles pour des loisirs riches de sens
► Promouvoir l’engagement dans des travaux communautaires et des services
bénévoles en relation avec l'accès des jeunes à la culture
► Engager un dialogue et un partenariat avec le secteur privé à travers de stratégies
communes
► Faciliter la communication entre les institutions culturelles et les jeunes, et
promouvoir les programmes portant sur des contenus culturels adaptés aux
attentes des jeunes
► Elaborer des politiques et des programmes différenciés pour les différents groupes
de jeunes
► Prévoir des avantages fiscaux pour les institutions privées travaillant activement en
faveur du développement de l'accès des jeunes à la culture et investir dans la
recherche sur la participation du secteur privé.
4. Engager des actions positives pour réduire les obstacles empêchant les
jeunes d'avoir accès à la culture
Les rapports nationaux élaborés dans le cadre de cette étude ont identifié plusieurs
éléments liés au temps et aux contraintes monétaires, aux attitudes, au manque de
transport, aux contraintes géographiques et à l'incompatibilité entre l'offre culturelle et
les intérêts des jeunes.
► Enquêter sur les principaux obstacles empêchant les jeunes d'avoir accès à la
culture dans le pays ou la région en question.
► Mettre en place des stratégies pour réduire les coûts d'entrée dans les institutions
culturelles et rendre le cadre de l'offre culturelle plus informel et convivial pour les
jeunes.
► Ajuster les horaires, le coût et la sûreté des transports publics pour faciliter l'accès
des jeunes aux institutions et services culturels.
► Promouvoir l’organisation d’activités autoproduites par les jeunes plutôt que les
structures descendantes (top-down).
► Impliquer les jeunes dans les processus de décision dans la mesure du possible.
► Encourager le dialogue entre l'école et les autorités locales afin de rendre l’offre
culturelle locale adaptée aux besoins des jeunes.
► Encourager la participation culturelle des jeunes dans les zones géographiques
défavorisées (zones rurales, en difficulté économique, îles, etc.) grâce aux
nouvelles technologies, à des programmes spécifiques et au déplacement des
activités culturelles dans les régions éloignées ou défavorisées.
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► Promouvoir les activités familiales afin d'impliquer les jeunes dans des activités
culturelles dès le plus jeune âge, et les politiques familiales orientées vers la
compréhension culturelle, l'information, l'égalité des sexes et la diversité culturelle
► Renforcer les canaux d'information portant à la fois sur l'offre culturelle existante et
sur les éventuelles remises/réductions applicables aux jeunes.
5. Encourager et soutenir l'éducation, la formation et le renforcement des
capacités
Le secteur de l'éducation est l'un des principaux alliés dans la promotion de l'accès des
jeunes à la culture. Pour que les jeunes puissent avoir accès à la culture, il est
essentiel d'encourager la culture et l'éducation artistique, la formation et le
renforcement des capacités de tous les jeunes aux niveaux formel, non formel, scolaire
et extrascolaire.
► Promouvoir une formation spécialisée pour les enseignants, les travailleurs du
domaine de la jeunesse et les professionnels de la culture sur les cultures des
jeunes, les nouvelles technologies, les compétences interculturelles, l'éducation
artistique, les droits culturels et la sensibilisation à la culture, particulièrement en ce
qui concerne l'accès à la culture.
► Développer des voies et des opportunités pour les jeunes d’élargir leur expression
et développement culturel et créatif, au sein ou hors de l'école.
► Augmenter les possibilités pour les jeunes de travailler dans le secteur culturel en
commençant, par exemple, par du bénévolat ou des stages, favorisant ainsi des
espaces sûrs et stimulants pour le développement de la créativité.
► Impliquer les institutions publiques, les organismes culturels et les acteurs de la
société civile dans le processus de construction de liens entre l'éducation/les
compétences et l'emploi des jeunes et, de cette façon, favoriser la citoyenneté
active des jeunes.
► Mettre en place des programmes d'emploi, des régimes d'entrepreneuriat social et
des microprogrammes de financement pour les jeunes créateurs, artistes et
professionnels de la culture, ainsi que les associations et organisations de jeunes.
6. Promouvoir la visibilité et la connaissance des cultures des jeunes
Les rapports nationaux élaborés dans le cadre de cette étude montrent que, même si
les jeunes font partie des membres les plus visibles de la société, leur image est
souvent qualifiée de défavorable, négative et associée à des problèmes. Pour que les
jeunes soient en mesure de participer à la société en tant que sujets à part entière de
droits et de devoirs, et pour qu’ils se sentent reconnus et respectés, cette perception
doit changer.
► Véhiculer des informations sur les cultures, la créativité et l'expression des jeunes.
► Mettre en place des canaux spécifiques permettant aux jeunes de présenter leur
matériel créatif au public (festivals, programmes TV, et autres canaux).
► Promouvoir le partenariat entre les groupes de jeunes, les secteurs de la création
et les personnes travaillant avec les jeunes.
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7. Favoriser l'accès à la culture dans le cadre de stratégies d'inclusion sociale,
de lutte contre la discrimination et d'égalité
Indépendamment de la croissante multiculturalité en Europe il faut disposer d’un plus
grand nombre de stratégies considérant les politiques et actions culturelles comme un
élément important des politiques contre la discrimination et des pratiques concrètes
contre le racisme et l'inégalité. Dans ce domaine, les actions devraient pensées sur le
long terme, systémiques et favoriser l'accès de façon structurelle. Ce type d’action doit
favoriser la compréhension et le respect de la diversité culturelle, développer les
compétences interculturelles et, stimuler la participation des jeunes passifs et
défavorisés à des expériences culturelles.
► Mettre en œuvre des programmes et stratégies pour encourager l'accès de jeunes
issus de groupes vulnérables à la culture (réseaux culturels, programmes éducatifs,
groupes de travail interculturels, etc.), et ainsi favoriser la cohésion sociale.
► Mettre en place des programmes spécifiques à destination des personnes et
organisations qui travaillent avec les jeunes sur des thèmes tels que l'accès, les
droits culturels, la programmation, le marketing, la sensibilisation et la créativité.
► Encourager l’engagement des jeunes issus de groupes vulnérables dans
l'éducation artistique et culturelle et dans l’entreprenariat créatif.
► Promouvoir la visibilité des jeunes des minorités dans les médias publics.
► Favoriser les connaissances des jeunes des cultures et du patrimoine culturel des
autres pays européens, notamment par le biais des nouvelles technologies et des
programmes éducatifs et d'échange.
► Encourager les cours et l'apprentissage des langues à tous les niveaux.
8. Promouvoir l'utilisation des Technologies d’Information et de Communication
(TIC) et des nouvelles technologies à des fins culturelles parmi l’ensemble des
jeunes
L'environnement numérique est un facteur clé dans la culture des jeunes d'aujourd'hui ;
à ce titre il peut être utilisé comme vecteur de participation culturelle.
Par conséquent les États membres devraient:
► Faciliter l'accès aux nouvelles technologies pour tous les jeunes afin qu'ils soient
en mesure de développer leurs compétences culturelles, créatives et d’expression.
► Encourager les compétences en matière de communication et d’utilisation des
médias par les jeunes, notamment dans leur rôle de créateurs artistiques en ligne.
► Développer une approche critique de la qualité des informations en ligne, en
prenant systématiquement en compte les aspects de sécurité concernant
l'utilisation d'Internet.
► Favoriser l'information sur la propriété intellectuelle, l'utilisation correcte d'Internet
et la responsabilité sociale.
► Promouvoir l'utilisation créative des TIC grâce à des programmes et des outils
spécifiques.
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9. Soutenir la recherche, le renforcement des connaissances et l'échange
d'informations
Il est nécessaire de soutenir les recherches et l'information dans différents domaines
afin de construire une base de connaissance pour les politiques et la planification
stratégique.
Les États membres devraient:
► Soutenir la recherche dans le domaine des cultures des jeunes, la créativité, la
citoyenneté culturelle et le rôle de la culture dans la cohésion sociale.
► Créer un ensemble d'indicateurs et de systèmes de suivi pour mesurer l'accès des
jeunes aux institutions culturelles, aux activités, aux équipements, à l’éducation, à
la coopération et à la communication interculturelle.
► Identifier des thèmes pour des recherches plus approfondies en collaboration avec
les professionnels de la recherche et les jeunes.
III. Propositions pour la société civile
1. Les institutions culturelles devraient aider à fournir des cadres favorables de
soutien pour l’accès des jeunes aux expressions culturelles et créatives
► Jouer un rôle plus proactif dans les questions liées à l'accès des jeunes à la
culture.
► Développer des initiatives impliquant les jeunes à tous les niveaux de prise de
décision (planification des programmes, gestion du budget, maintenance,
marketing, conception des activités, etc.)
► Mettre en place une communication spécifique à l’égard des jeunes concernant
leurs activités, en particulier grâce à des outils d'enseignement numériques,
d'autres méthodes liées aux nouvelles technologies et des programmes spécifiques
portant sur des contenus culturels adaptés aux attentes des jeunes
► Participer aux efforts du secteur public pour réduire les obstacles limitant l’accès
des jeunes à la culture
► Contacter les fondations privées et les donateurs afin de les inciter à travailler en
faveur de l'accès des jeunes à la culture
► Adapter les horaires des activités culturelles destinées aux jeunes afin de les
harmoniser avec la vie quotidienne des jeunes
► Promouvoir l’organisation d’activités autoproduites par les jeunes.
2. Les organisations de jeunes et les personnes travaillant activement avec les
jeunes devraient également jouer un rôle actif dans la promotion de l'accès des
jeunes à la culture.
► Développer des partenariats avec les secteurs de la création
► Encourager les projets liés à la culture destinés aux jeunes dans leurs activités.
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Zusammenfassung - Deutsch
“Der Zugang zu Kultur von Jugendlichen, sei es als Akteure oder als Konsumenten, ist
eine entscheide Bedingung für ihre vollwertige Mitgliedschaft in der Gesellschaft.
Zugang zu Kultur kann das Bewusstsein für ein gemeinsames kulturelles Erbe stärken
und ein weltoffenes, gemeinnütziges Engagement fördern. Beteiligung an kulturellen
Aktivitäten ermöglicht es Jugendlichen, ihre kreative Energie auszudrücken und damit
an ihrer persönlichen Entwicklung und ihrem Zugehörigkeitsgefühl in einer Gesellschaft
mitzuwirken.“ – aus der Ausschreibung3.
Die Studie wurde 2009 unter Beteiligung vieler Parteien ausgearbeitet. Neben dem
Koordinationsteam, fünf Projektverantwortlichen und 27 nationalen Mitarbeitern, erhielt
die
Studie
wertvolle
Beiträge
von
der
Europäischen
Kommission,
Jugendorganisationen und von Jugendlichen selbst. Der Großteil der Information
wurde durch nationale Mitarbeiter zusammengetragenen, die ausführliche, auf einen
ausgewerteten Fragebogen basierende Berichte verfassten.
Umgrenzung der Studie
Gemäß der Empfehlung der UNESCO über die Teilnahme und Mitwirkung aller
Bevölkerungsschichten am kulturellen Leben (1976), bedeutet Zugang zur Kultur für
jedermann, insbesondere durch Schaffung geeigneter sozioökonomischer
Bedingungen, offenstehende tatsächliche Möglichkeiten, Informationen, Ausbildung,
Wissen und Verständnis zu erlangen und sich kultureller Werte und Güter zu erfreuen.
In dieser Studie wird Zugang zu kulturellem Leben als fundamentales Recht von
Jugendlichen verstanden, als vollwertige Inhaber von Rechten und Verantwortung an
gesellschaftlichem Engagement teilzunehmen. Ohne Zugang zu Kultur und Mitwirkung
in kulturellem Leben, haben Menschen nicht dieselben Möglichkeiten, soziale und
kulturelle Beziehungen zu knüpfen, die so wichtig sind für die Aufrechterhaltung einer
zufriedenstellenden Koexistenz unter gleichberechtigten Bedingungen. Innerhalb des
Rahmens der Studie schließt das Konzept von Kultur alle kulturellen und artistischen
Aktivitäten ein: darstellende Kunst, visuelle und bildende Kunst, Musik, kulturelles Erbe
und Architektur, Literatur.
Die Hauptzielgruppe für die Studie waren Personen zwischen 15 und 24 Jahren; eine
zweite Beachtung fanden Kinder von 12 bis 15 und junge Erwachsene von 24 bis 29
Jahren.
Die Autoren untersuchen Übereinkommen und gesetzliche Rahmenbedingungen,
kulturelle Angebote und Möglichkeiten, öffentliche und private Akteure auf nationaler,
regionaler, lokaler Ebene. Die Studie beschreibt gegenwärtige Trends der Jugendkultur
in Europa, identifiziert Hindernisse junger Menschen im Zugang zu Kultur, benennt
Studien und Statistiken und katalogisiert inspirierende und erfolgreiche Beispiele aus
unterschiedlichen Ländern. In der Vielfalt des Untersuchungsfelds besteht eines seiner
größten Herausforderungen; die Schwierigkeit verschiedene Strukturen, Systeme und
Beispiele zu vergleichen. Deshalb sollte diese Untersuchung nicht als vergleichende
Studie von verschiedenen Ländern angesehen werden, sondern als eine
Momentaufnahme der Möglichkeiten für Jugendliche, Zugang zu Kultur zu erhalten,
3
Die Studie wurde im Rahmen des Artikels 5(2) des Jugend in Aktions-Programms, des Jugendreferats der
Exekutivagentur Bildung, Audiovisuelles und Kultur (EACEA) in Auftrag gegeben.
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insbesondere anhand bereits bestehender nationaler Praxis im Bereich des kulturellen
Zugangs für Jugendliche.
Kulturpolitische Dokumente und Programme in Bezug auf „Zugang von Jugendlichen
zu Kultur“ umfassen die folgenden Aspekte:
¾ Jugendliche als Nutzer, Käufer, Konsumenten, Zielgruppe. Dies bezieht sich
vornehmlich auf kulturelle Organisationen, die einen erleichterten Zugang
Jugendlicher zu bestimmten kulturellen Organisationen anstreben, die
hochwertige Programmgestaltung und einen gewissen Wert einschließen, und
von Jugendlichen weniger angenommen werden. Diese sind: Museen,
nationale und regionale Galerien, Opern und Theatervorstellungen,
Symphoniekonzerte, Bibliotheken etc. Eine gemeinhin geläufige politische
Maßnahme stellen die subventionierten Preise, saisonale Tickets, ermäßigte
Abonnement-Modelle oder freier Zugang für Jugendliche dar. Die
Verantwortung für die Gewinnung von Jugendlichen als regelmäßige
Konsumenten liegt in den Händen von kulturellen Entscheidungsträgern, sollte
jedoch, beim Versuch, Jugendliche gezielt als Marktsegment zu gewinnen,
auch das Hauptaugenmerk von PR-Spezialisten und -Abteilungen in kulturellen
Organisationen sein.
¾ Jugendliche als aktive Beteiligte und Schöpfer von Kunst. Dieser Aspekt ist eng
mit der Bildungspolitik auf allen Stufen verbunden – angefangen in der
Grundschule und weiterführenden Schule bis zum Hochschulwesen, dem
lebenslangen Lernen sowie beruflicher Fortbildung. Hier ist eine verbesserte
Kooperation zwischen den Akteuren und Programmen, beide Instrumente in
Bezug auf künstlerische Bildung, innerhalb der Kultur- und Erziehungspolitik
notwendig. Politik in Bezug auf Kultur und Kunst, die versucht, Einfluss auf die
Freizeit Jungendlicher zu nehmen, bedeutet Motivation für junge Menschen,
sich als Akteure an Formen von Amateur-Kunst, gesellschaftlichen
Kunstformen und an Kunst hinsichtlich eines sozialen Wandels zu beteiligen.
Im Verlauf der Jahre haben die Formen des Zugangs sich verändert. Neben
klassischen Kanälen und Institutionen, sind die Kanäle der Jugendkultur oft dynamisch
und informell und genießen oft keine offizielle Anerkennung. Die Art, wie Jungendliche
als Nutzer oder Akteure oder einfach als Teilnehmer einer kulturellen Erfahrung
Zugang zu Kultur finden, sind vielfältig und manchmal experimentell. Zugang zu Kultur
geht über den Zugang zu kulturellen Produkten, den Besuch von Orten und dem Erhalt
von Informationen hinaus. Es handelt sich ebenso um eine individuelle Erfahrung von
persönlicher Entwicklung und Freunde.
In einer Eurobarometer-Untersuchung aus dem Jahre 2007 wurde, nach der Häufigkeit
von verschiedenen kulturellen Aktivitäten (kultureller Konsum) in den letzten 12
Monaten gefragt. 82% der 15 bis 24-jährigen waren im vergangenen Jahr ins Kino
gegangen, verglichen mit 24% der befragten Personen ab 55 Jahren. Eine bedeutende
Lücke wurde ebenso für andere Aktivitäten wie Konzertbesuche und Buchlektüre
entdeckt. Im Allgemeinen kann man feststellen, dass es weniger künstlerische Aktivität
als kulturellen Konsum gibt. Der Partizipationsanteil ist bei den jüngsten Gruppen
höher: Tanzen ist die häufigste Aktivität (29% bei den 15 bis 24-jährigen).
Gleichzeitig zeigen Studien, dass benachteiligte Jungendliche auch weniger
Möglichkeiten für den Zugang zu Kultur haben (gemäß ihrer eigenen Wahrnehmung
bedingt vor allem durch Zeit- und Geldmangel oder geographische Beschränkungen).
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Um eine möglichst breite Auswahl an Fragen abzudecken, wurde die Studie so
strukturiert, dass jedes Kapitel eine eigenständige Einheit bildet, die sich auf ein
spezifisches Thema konzentriert. Das erste Kapitel beinhaltet die konzeptuelle
Einleitung und Beschreibung vorangegangener Studien. Kapitel zwei beschreibt
internationale und nationale rechtliche Gegebenheiten und spezifische Gesetzgebung
in Bezug auf den Zugang von Jugendlichen zu Kultur. Kapitel drei definiert
administrative Strukturen, Politik, Akteure, Programme, Initiativen, Prozess- und
politische Prioritäten. Das vierte Kapitel präsentiert Tendenzen und gemeinsame
Elemente in der gegenwärtigen Jugendkultur Europas. Kapitel fünf konzentriert sich auf
die Hindernisse für kulturelle Teilnahme. In Kapitel sechs wird eine Klassifizierung
existierender, guter Praktiken vorgenommen. Kapitel sieben und acht schließlich
beinhalten politische Empfehlungen.
Rechtlicher Hintergrund, Strategien und Verantwortlichkeiten
Gesetze, die sich mit dem Thema des Zugangs Jugendlicher zu Kultur befassen,
existieren fas nicht. Dies könnte darauf hindeuten, dass Zugang zu Kultur noch immer
nicht als eines der vorrangigen Themen in der Jugend- oder Kulturpolitik angesehen
wird.
Dennoch wurden der Zugang zu Kultur oder kultureller Partizipation junger Menschen
als die, in jugendpolitischen Dokumenten und strategischen Plänen von 11 EULändern behandelten Themen genannt, während von jugendspezifische Themen in
kulturpolitischen Dokumenten und kulturpolitischen Strategien in 5 Mitgliedsstaaten
berichtet wird.
Zugang Jugendlicher zu Kultur wird von kulturpolitischen Entscheidungsträgern
hauptsächlich als die Notwendigkeit verstanden, politische Instrumente einzusetzen,
um hauptsächlich einen Zugang zu klassischen und traditionellen Kunst- und
Kulturformen zu fördern, wie Kultur-Erbstätten, visuelle Künste (Museen und Galerien),
darstellende Künste (Theater, Oper, etc.), Bibliotheken, Kultur- und Gemeindezentren,
aber auch zu anderen Formen kulturellen Angebots, die vor allem von staatlichen
Finanzmitteln profitierend, von Kulturorganisation subventioniert werden. Zugang zu
zeitgenössischen Randformen von Kunst und künstlerischen Experimenten, als
Institutionen werden hauptsächlich durch Nonprofit-Organisationen repräsentiert,
Zugang zu medialen Kunstformen sowie Branchen der Unterhaltungs- bzw.
Freizeitindustrie mit Kunst- und Kulturelementen werden weniger oder gar nicht in
kulturpolitischen Dokumenten und Programmen berücksichtigt. In der Tat tendiert
Kulturpolitik dazu, den Zugang Jugendlicher zu Kultur als etwas zu erachten, das mit
'Freizeit' zu tun hat.
In den meisten Mitgliedstaaten sind die offiziellen Institutionen auf nationaler Ebene,
die mit der Entwicklung und der Umsetzung von Jugendpolitik und Zugang zu Kultur
beauftragt sind, die Kultus- und Bildungsministerien. Die meisten Länder berichten,
dass beide Ministerien die Politik und Verantwortlichkeiten von Jugendpolitik und
jugendlichen Zugang zu Kultur trennen. In manchen der Länder wurde durch die
Dezentralisation von Kultur- und Bundesverwaltung auch Entscheidungskraft an
Landesverwaltungen weitergegeben.
•
Bildungspolitik (formell oder informell) beinhaltet künstlerische Erziehung. In
manchen Fällen beschäftigen sich die Bildungsministerien damit, einerseits
geeignete Arbeit für junge Menschen zu finden, die ihrem Bildungsstand,
Bedürfnissen, und Erwartungen, sowie anderseits, im Kunst- und Kultursektor,
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die ihren Talenten und Interessen entsprechen. Kunsterziehung ist ein wichtiger
Aspekt für den Zugang von Jugendlichen zu Kultur, da sie von jungen Jahren
an, das Bedürfnis nach Mitwirkung und Freude an Kunst vermittelt. Im Falle der
Beschäftigungspolitik in Verbindung mit dem Kultursektor werden gemeinsame
Programme zwischen Bildungs- und Arbeits-/Sozialministerien aufgebaut.
•
Kulturpolitik wird verstärkt ausgerichtet auf einen erleichterten Zugang zu
kulturellen
Institutionen
und
Events,
die
auch
schutzbedürftige
Bevölkerungsgruppen, als welche oft Kinder und Jugendliche angesehen
werden, einschließen.
Eine Mehrheit der Mitgliedstaaten präsentiert Kunst- und Kulturerziehung als den
Mittelpunkt ihrer Jugendpolitik in Verbindung mit dem Zugang zu Kultur.
Jugend & Kultur – Trends der Jugendkultur
Die Art und Weise des Zugangs zu Kultur von Jugendlichen als Nutzer oder Schöpfer,
oder einfach als Teilnehmer einer kulturellen Erfahrung sind vielfältig und beinhalten,
abgesehen von klassischen Kanälen und Institutionen, auch dynamische JugendkulturKanäle.
Dies ist der Grund warum die vorliegende Studie bei der Untersuchung kultureller
Aktivitäten von Jugendlichen beides herausstellt
•
den kulturellen Aufbau der Jugend (die Art und Weise, wie Kulturinstitutionen das
Leben Jugendlicher gestalten) und;
•
die jugendliche Gestaltungsweise von Kultur (die Wege, auf welchen Jugendliche
am Kulturleben teilnehmen). Dies beinhaltet Jugendkultur-Trends (kulturelle
Phänomene, die Jugendliche erfahren und die für die gesamte Generation oder die
umgebende Gesellschaft relevant werden können).
Gegenwärtige Jugendkulturtrends in Europa können gemäß der folgenden, zu
beobachtenden Mechanismen beschrieben werden:
- “Verjugendlichung“ – Ausdehnung von jugendlichem Lifestyle über alle Lebenszyklen
hinweg
- Kulturelle Anpassung – Ausdehnung des Kulturkonzepts auf Gebiete die bisher
traditionell nicht dem Kultursektor zugerechnet wurden. Die Wissenschaft behauptet,
dass eine gewisse Offenheit in Bezug auf alle möglichen künstlerischen
Ausdrucksformen Jugend charakterisiert – vielleicht sogar mehr als es bei Erwachsene
der Fall ist.
- Kommerzialisierung – Verbreitung kultureller Produkte und Aktivitäten auf den
globalen Warenmarkt für Jugendliche.
- „Prosumerisation“ – Jugendliche, die zur selben Zeit Kulturproduzenten und konsumenten sind
- Individualisierung – Ausweitung sozialer Kategorien als Merkmal persönlicher
Identität
- Fragmentierung – Auffächerung von Jugendkulturtrends auf verschiedene heterogene
Szenen und Sippen
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- Globalisierung / Lokalisierung – Umsetzung von Interdependenzen, Überwindung von
Distanzen dank Kommunikationstechnologie, Reisen und der Verbreitung von neuen
internationalen
Machtblöcken, kombiniert mit einer Betonung auf das, und
Interaktionen in dem unmittelbaren Umfeld und Milieu.
- Transkulturalismus – Schaffung von Jugendidentitäten von der Peripherie aus und
Vermischung von Jugendkulturen
- Allgemeine Handlungskompetenzerweiterung – Kultur, genutzt als Mittel zur
Bekämpfung sozialer Diskriminierung
- Digitalisierung – Ausdehnung der Internetpraktiken auf fast alle soziale Dimensionen
des jugendlichen Alltagslebens
Inspirierende Wege
Die Studie listet die folgenden Typologien guter Wege in der Förderung des Zugangs
Jugendlicher zu Kultur:
• Ökonomische Katalysatoren für Kulturkonsum
Hiermit sind Beispiele für finanzielle Anreize durch spezielle Eintrittskarten oder
Pässe gemeint, die einen ermäßigten Eintritt für Jugendliche zu kulturelle
Aktivitäten bieten. Als Beispiel seien hier die Europäischen Jugendkarte genannt,
die gegenwärtig in 24 EU-Staaten erhältliche ist und in Frankreich jungen
Menschen unter 26 freien Eintritt in Museen gewährt, oder die „Ein-Euro“Kampagne im flämischen Teil Belgiens, Bog Start für Bücher und die Lektüre in
Dänemark, Kulturgutscheine in manchen Regionen Spaniens, etc.
• Kulturinstitutionen und jugendliche Kreativität
Diese sind hauptsächlich Beispiele von spezifischen Jugendkultur-Initiativen oder
-Zentren, wie zum Beispiel unter anderem, The Young Tate in Liverpool (UK) –
diese Galerie ist gleichzeitig eines der größten lokalen Zentren zeitgenössischer
Kunst und Begegnungsstätte junger Menschen, der Youth Culture Clum Siperia
(Finnland), eine Plattform für Indipendentkunst und Kulturevents von Jugendlichen
oder die Hip-hop-Academy Hamburg (Deutschland).
• Erbe und Gemeinwesen verbinden
Hier sind Projekte gemeint, die darauf abzielen, den Zugang Jugendlicher zu
Volkserbe oder Kulturgemeinschaft vor allem durch neue Technologien zu
ermöglichen. Die Beispiele sind so vielfältig wie Chitalischte, Jungedkulturzentren,
die in Bulgarien vor mehr als 100 Jahren errichtet wurden, Museum Online, ein
Kooperationsprogramm zwischen Museen und Schulen in Österreich oder Amusee
Vous, eine flämische, in Brüssel ansässige, ehrenamtliche Gruppe, die sich zur
Aufgabe gemacht hat, ein Brücke zwischen Museen und Jugendlichen zu
schlagen.
• Mobilität und Kooperation
Dies beinhaltet Aktivitäten zur Netzwerkgründung sowohl um Jugendlichen die
Nutzung kulturellen Services zu ermöglichen, als auch um junge Künstler
miteinander in Kontakt zu bringen.
Als Beispiel seien hier Valhalla (Skandinavisches Ministerratsportal für Kinder- und
Jugendkultur), oder EUnetART, das Europäische Netzwerk für Kunstorganisationen
für Kinder und Jugendliche mit Sitz in Amsterdam.
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• Interdisziplinäre Kultur-/Kunstformen und -Stile
Diese Art der Initiative versucht, gemeinschaftlich genutzten Raum für neue
Formen kulturelle Interaktionen und interdisziplinäre Ausdrucksformen junger
Menschen bereitzustellen. So ist zum Beispiel Unidos por el Flow in Barcelona
(Spanien) ein Verein für Jungendliche von der Straße oder aus Gangs. Die
Initiative versucht über Hip-hop, Tanz und Theater, den kulturellen Dialog zwischen
verschiedenen Jugendszenen zu fördern. Als weitere Beispiele seien Stanica, ein
nebenbei als Kulturzentrum und Begegnungsstätte genutzter Bahnhof in Slowenien
und Kultuuritehas (Kulturfabrik) in Tallinn, Estland genannt.
• Jungendliche mit unterschiedlichen Hintergründen einbinden
Hierbei handelt es sich um Aktivitäten zur Unterstützung des Zugangs und der
Teilnahme an Kultur von Jugendlichen aus benachteiligten Milieus oder junge
Migranten. Man könnte hier zum Beispiel die Programme multikultureller Bildung
aus Tschechien nennen, die Campagne La jeunesse [ça] se cultive der NGO
Jeunesse Ouvrière Chrétienne in Frankreich oder C:NTACT in Dänemark (Dieses
Projekt arbeitet im Theater-, Medienbereich, und mit Schreibwerkstätten, sowie mit
Unterrichtseinheiten, wo junge professionelle Künstler Jugendliche anhalten, die
Geschichte ihres kulturellen Backgrounds zu erzählen.
• Kunst und Kreativität in der Bildung
Hier sind Beispiele von Initiativen zu Kultur und Kreativität im Rahmen Lehrplans
gemeint. Inspirierende Beispiele sind unter anderem das Kreative
Partnerschaftsprogramm in Großbritannien.
• Neue Technologien
Diese Projekte nutzen neue Technologien, insbesondere das Internet, um Zugang
und kulturelle Beteiligung zu fördern. Beispielhaft seien hier die Bibliothek der
Jungend in Spanien oder das Multimediatool Treasure Quest in Bulgarien.
• Jugendliche als Kulturproduzenten und -konsumenten
Diese Formen von Initiativen fördern interkulturellen Austausch und Mobilität von
Jungendlichen; sie geben ihnen die Möglichkeit ihr Können in kulturellen und
künstlerischen Aktivitäten unter Beweis zu stellen. Beispiele sind das Strangers
Festival für junge Videofilmer in den Niederladen, das 'Youth Initiatives' -Projekt in
Zypern, die Möglichkeit in Deutschland für junge Menschen zwischen 16 und 27,
sich um ein einjähriges freiwilliges Praktikum in Kulturinstitutionen zu bewerben
oder der Arts Award (UK) der Jungendliche bei ihrer Entwicklung als Künstler und
unterstützt.
Wichtigste Ergebnisse
¾ Jugendliche sind keine homogene Gruppe und benötigen differenzierte,
koordinierte und langfristige Strategien für den Kulturzugang, selbst wenn
dieselben Trends auch in anderen Ländern beobachtet werden können.
Es gibt Unterschiede zwischen Jugendlichen je nach städtischem oder ländlichem
Umfeld, zwischen Jugendlichen in interaktiven, kosmopolitischen und diversen
urbanen Umfeldern und Jugendlichen in homogeneren und geschlossenen
urbanen Milieus. Es gibt außerdem Unterschiede zwischen Ländern in welchen
Jugendkultur mehr durch dien ‚Newcomer’ markiert ist, etwa durch kürzliche
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Immigration – und Ländern, wo eine längere Tradition kultureller Vielfältigkeit
existiert.
¾ Zugang Jugendlicher zu Kultur gewinnt zunehmend an Interesse auf allen
entscheidenden politischen Ebenen (international, europäisch, national,
regional und lokal)
Neben den jüngsten Tätigkeiten auf EU-Ebene, beinhaltet umgesetzte Kulturpolitik
in den Mitgliedsstaaten mehr und mehr auch Aktivitäten in Bezug auf den Zugang
von Jugendlichen zu Kultur und das Potential der Kultur, die Diskriminierung in den
Griff zu bekommen, den sozialen Zusammenhalt zu verbessern. Diese
Möglichkeiten zu schaffen, gewinnt bei den politischen Entscheidungsträgern
zunehmend an Anerkennung. Die durchgeführten Aktionen sind effizienter in den
Bereichen mit Bezug auf Kulturerbe, Beschäftigung, Mobilität, Kulturkonsum und partizipation, künstlerische Erziehung, Amateurkunst, Bewahrung von kulturellen
Minderheiten und sozialem Zusammenhang, während sie weniger auf
zeitgenössische und medienbezogene Foren ansprechen auch wenn neue
Technologien und Digitalisierung auf der Prioritätenliste steigt.
¾ Geld, geographische Einschränkungen und Zeit bleiben das Haupthindernis in
Bezug auf den Zugang Jugendlicher zu Kultur
Jugendlicher Zugang zu Kultur hängt, auch wenn es hilfreich ist, nicht nur von den
Mitteln und Fonds ab. Die nationalen Untersuchungsberichte zeigen in Bezug auf
den Zugang zu Kulturleben, dass die größten Hindernisse die folgenden sind:
finanzielle Einschränkungen, Gesinnungen (und zwar nicht nur die des Publikums
im Allgemeinen, sondern vielmehr von Jugendlichen selbst sind), geografische
Beschränkungen, (Dichotomie zwischen urbanem und ländlichem Umfeld, Mangel
an praktischen Zugangsmöglichkeiten, wie Transportmittel), Zeit (zumindest nach
Empfinden der Jugendlichen), soziales Umfeld, sowie das Angebot selbst, das
heißt, dass das Angebot sich nicht immer mit den Bedürfnissen und
Notwendigkeiten deckt.
¾ Familie und soziales Umfeld sind fundamentale Elemente bei der Ermutigung
zu kulturelles Partizipation
Gesellschaftliche Beziehungen, Familie/soziales Umfeld und Schule sind von
essenzieller Bedeutung beim Aufbau des Zugangs zu Kultur für Jugendliche. Die
Studien zeigen außerdem eine Verbindung zwischen Kulturerziehung und
Partizipation.
¾ Digitalisierung kann als Motor für kulturelle Teilnahme genutzt warden.
Kreativität und Innovation in Bezug auf Leben und Zukunft von jungen Menschen
sind eng mit der neuen Technologie verbunden, die kreative Nutzung des Internets
und die Art, wie Jugendliche Informationen und Wissen sammeln, analysieren und
verbreiten. Das digitale kulturelle Umfeld ist ein Schlüsselfaktor in der heutigen
Jugendkultur und seine Bedeutung ist bisher noch lange nicht ausgeschöpft.
¾ Es sollten bessere Erkenntnisse über die Beteiligung und den Zugang
Jugendlicher zu Kultur erzielt werden.
Es scheint, einen Mangel an Informationen und Untersuchungen über diverse
Themen in Bezug auf unser Thema zu geben, und dies trotz der Existenz von
nationalen Untersuchungszentren in mehreren Ländern, die sich zum Ziel gesetzt
haben, das Verständnis und Wissen über Jugendpolitik, Jugendkultur, Lifestyle,
Vorlieben, Bedürfnisse und Trends zu mehren.
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¾ Genau genommen, gibt es sogar die Notwendigkeit zu evaluieren, was die
Jugendlichen selbst als wichtig erachten, wenn es um den Zugang zu Kultur
und kulturellem Angebot geht und was ihre Zukunftserwartungen sind.
Es ist noch immer nur wenig Information zu finden, wenn es um die Auswertung
geht von Jugendlichen selbst hinsichtlich kulturellem Angebot, Strukturen,
Möglichkeiten und ihre Erwartungen und ihren Erwartungen in Bezug auf ihre
Erwartungen an die notwendige Unterstützung für ihre Teilnahme an kulturellen
Aktivitäten.
¾ Das Medienbild der Jugendlichen sollte verbessert werden.
Jugendliche sind wahrscheinlich die meistbeachtete Gesellschaftsgruppe. Dennoch
ist das Medienbild der Jugendlichen und der Jugendkultur oft negativ. Junge
Menschen scheinen als Jugendliche in unterschiedlichen Ländern mehr
Aufmerksamkeit als Jugendkultur im Allgemeinen zu benötigen genau wie Zugang
zu kulturellem Wissen über andere Kulturen.
¾ Der Zugang zu Informationen sollte weiter verbessert werden
Der Zugang zu Information scheint in vielen Ländern ein äußerst wichtiges Thema
zu sein; Information neigt dazu diffus und schwer lokalisierbar zu sein. Das gleiche
Problem scheint auf die Vermittlung erfolgreicher Erfahrungen zuzutreffen; Es gibt
mehrere Erfahrungen in Mitgliedsstaaten, die allerdings sehr lokal und in der
jeweiligen Sprache erfasst sind. Deshalb ist es schwierig Informationen über diese
zu erhalten. Ein Portal mit brauchbaren Erfahrungsberichten aus Europa wäre ein
hilfreiches Werkzeug.
¾ Ehrenamtliche Arbeit ist ein wichtiger Teil der kulturellen Partizipation
Was die Akteure auf der regionalen und lokalen Ebene angeht, existiert ein breites
Panorama von Kulturorganisationen und freiwilligen Zusammenschlüssen, die im
Namen der Förderung von Kultur für Jugendliche arbeiten. Selbst wenn nicht
explizit im Fragebogen gefragt, unterstrichen die nationalen Berichterstatter dass
das Ehrenamt ein wichtiger Teil kultureller Beteiligung sei. Es kann eine Vielzahl
bedeutender Netzwerke für Kinder und Jugendkultur genannt werden, die in
diesem Bereich die Kooperation und den Austausch von Erfahrungen fördern.
¾ Beziehungen der bürgerlichen Gesellschaft zu der Rolle des privaten Sektors
müssen ergründet werden
Die private Finanzierung im Jugendbereich ist ein weitestgehend unerforschter
Bereich und kann für Länder wie Deutschland, in denen private Spenden einen
wichtigen Anteil an der Finanzierung haben, einige äußerst interessante
Ergebnisse aufzeigen.
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Empfehlungen
I. Anregung für Europäische Institutionen
Europäische Institutionen sollten in den folgenden Bereich aktiv werden:
1. Austausch von Informationen
► Austausch und Sichtbarkeit nützlicher Maßnahmen zwischen den einzelnen
Mitgliedsstaaten erleichtern, um das Bewusstsein für das Thema zu stärken.
► Bildung einer Europäischen Datenbasis von erfolgreichen Beispielen und
Mechanismen bei der Einbindung von Jugendlichen in diversen kulturellen
Aktivitäten
2. Einbindung von Europäischen Interessensgruppen
► Bestärkung Europäischer Netzwerke, Themen mit Bezug auf den Zugang
Jugendlicher zu Kultur aufzugreifen und Partnerschaften zwischen Jugend- und
Kulturbereichen zu gründen.
3. Zugang zu anderen Kulturen
► Das Wissen Jugendlicher über Kultur und kulturellem Erbe in anderen
Europäischen Ländern fördern, gegebenenfalls mit Hilfe neuer Technologie und
Bildungs- und Austauschprogrammen.
4. Verbessertes Wissen
► Unterstützung auf EU Ebene der Forschung in den Bereichen Jugendkulturen,
Kreativität, kulturelle Volkszugehörigkeit und die Rolle der Kultur im sozialen
Zusammenhang
► Entwicklung von Datensammlung und Statistiken über Zugang von Jugendlichen zu
Kultur in der EU.
II. Anregungen für die Mitgliedsstaaten (nationale, regionale und lokale Ebene)
1. Einbindung “Kulturzugang” als eine der wichtigen Prioritäten für alle
Maßnahmen für Jugendliche
Kulturzugang ist eng mit Erziehung, Jugend, Beschäftigung, Kultur- und Medienpolitik
verbunden. Der Zugang junger Menschen kann besser gefördert werden, wenn
Zukunftsaussichten Jugendlicher einerseits in die Kulturpolitik und andererseits ihr
Zugang zu Kultur in die Jugendpolitik integriert wird und Partnerschaften zwischen den
unterschiedlichen Bereichen weiter verfolgt werden.
Deshalb sollten die Regional- und Lokalverwaltungen der Mitgliedsstaaten
► nach Synergien und Kooperation zwischen den unterschiedlichen Strategien und
Programmen in den oben genannten Betätigungsfeldern suchen und junge
Menschen – unter besonderer Berücksichtigung von Jugendlichen in kritischen
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Situationen – als vorrangige Gruppe in alle Zukunftsstrategien, Programme und
Aktivitäten in Kultur- und Medienbereich einbeziehen.
► außerdem durch Partnerschaften, der Revisionen von Strategien und Programmen,
bereits existierende Institutionen und Strukturen weiterentwickeln und stärken und
Ziele und Planungen definieren.
2. Normative und legislative Hilfsmittel für den Zugang von Jugendlichen zu
Kultur entwickeln
Die Gesetzgebung in Bezug auf den Zugang Jugendlicher zu Kultur ist immer noch
rückständig und reflektiert nicht die Entwicklungen innerhalb des Jugend und
Kultursektors. Rechtliche Rahmenbedingungen vieler Mitgliedsstaaten bedürfen in
erheblichen Teilen einer Aktualisierung und Spezifizierung.
Deshalb sollten die Mitgliedsstaaten:
► den legislativen Prozess durch die Pflege des Kulturzugangs Jugendlicher für
normative Hilfsmittel öffnen.
► ein System für eine Fortschreibung der existierenden Legislatur entwickeln.
► dem rechtlichen Rahmen in Bezug auf den Kulturzugang junger Menschen aus
angreifbaren Gruppen (Jugendliche mit Behinderungen, Minoritäten, Immigranten)
besondere Beachtung schenken.
3. Tragfähige und Langzeitstrategien für den Zugang der Jugend zu Kultur
Es gibt auf allen Ebenen, einen Bedarf an konstruktivem Dialog zwischen allen
Schlüsselakteuren und Beteiligten und zwar in synchronisierter und gemeinschaftlicher
Art und Weise, um strategische Ansätze und zukünftige Herausforderungen zu planen.
Deshalb solten die Mitgliedsstaaten:
► Die Bedürfnisse Jugendlicher im Bezug auf kulturellem Angebot und Ausstattung
überwachen.
► Zugang zu Orten für Zusammenkünfte, für Kreativität, gemeinschaftlichem Lernen
und kulturellen Aktivitäten schaffen, um eine sinnvolle Freizeitgestaltung zu
ermöglichen.
► Einbringung in gemeinnütziger Arbeit und ehrenamtlichen Service in Verbindung
des Kulturzugangs für Jugendliche fördern.
► Den Dialog und die Kooperation mit dem privaten Sektor mithilfe gemeinsamer
Strategien anstoßen.
► Die Kommunikation zwischen Kulturinstitutionen und Jugendlichen erleichtern und
Programme, die vom kulturellen Inhalt auf die Erwartungen von Jugendlichen
zugeschnitten sind, erleichtern.
► Differenzierte Strategien und Programme für unterschiedliche Gruppen von
Jugendlichen entwickeln.
► Steuerliche Vorteile für Privatinstitutionen ins Auge fassen, die aktiv für die
Entwicklung des Kulturzugangs für Jugendliche arbeiten und in Forschung und
Beteiligung des privaten Sektors investieren.
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4. Positive Aktionen für einen Abbau von Hindernissen in Bezug auf den
Kulturzugang von Jugendlichen
In den für diese Studie ausgewerteten, nationalen Berichten wurden diverse Elemente
festgestellt, die zeitlichen und finanziellen Einschränkungen, Einstellungen, Mangel an
Transportmitteln, geografischen Nachteilen und der Unvereinbarkeit von kulturellem
Angebot und den Interessen von Jugendlichen zuzuordnen waren.
► Die hauptsächlichen Hindernisse für junge Menschen einen Zugang zu Kultur zu
erhalten, in dem betreffenden Land/Region überwachen.
► Strategien für verminderte Eintrittspreise zu Kulturinstitutionen und mehr
jugendfreundliche, formlose Umfelder für Kulturangebote entwickeln.
► Fahrpläne, Kosten und die Sicherheit des öffentlichen Transportwesens anpassen,
um Jugendlichen den Zugang zu kulturellen Institutionen und Angeboten
erleichtern.
► Selbstorganisierte und -entwickelte Aktivitäten für Jugendliche, an Stelle von
hierarchischen Strukturen fördern.
► Jugendliche weitest möglich in Entscheidungsfindungsprozesse einbeziehen.
► Den Dialog zwischen Schule und lokalen Autoritäten anregen, um lokales
Kulturangebot an die Bedürfnisse von Jugendlichen anzupassen.
► Das kulturelle Engagement junger Menschen durch neue Technologien,
spezifischen Programmen und Verlegung kultureller Aktivitäten in entlegene oder
benachteiligte Gebiete, (ländlicher, ökonomisch schwieriger, Inseln, etc.)
bestärken.
► Zum Einen Familienaktivitäten, um junge Menschen von klein auf für kulturelle
Aktivitäten zu gewinnen, und zum Anderen Familienpolitik für Kulturverständnis,
Information, Gleichberechtigung der Geschlechter und kulturelle Vielfalt fördern.
► Informationskanäle sowohl für existierende Kulturangebote, als auch für eventuell
für Jugendliche verfügbare Nachlässe/Rabatte stärken.
5. Bildung, Lehrgänge und Qualifizierungen fördern
Der Bildungssektor ist einer der ‘Verbündeten’ im Kampf um die Pflege des Zugang zu
Kultur für Jugendliche. Um für junge Menschen die Möglichkeit des Zugangs zu Kultur
zu ermöglichen, ist es überaus wichtig, Kultur- und Kunsterziehung, Training und
Qualifizierung auf formalem, informellen, im schulischen und außerschulischem
Bereich zu fördern.
► Spezialisierte Lehrgänge aus den Bereichen neue Technologien, interkulturelle
Kompetenzen, Kunsterziehung, kulturelles Recht und kulturelles Bewusstsein, mit
einem Schwerpunkt auf Kulturzugang, für Lehrer, Jugendberater und
Kulturspezialisten fördern.
► Kanäle und Gelegenheiten für Jugendliche entwickeln, um ihre kulturellen und
kreativen Ausdrucksformen zu erweitern und zu entwickeln, sowohl in, als auch
außerhalb der Schule.
► Die Möglichkeiten für junge Menschen im Kultursektor zu arbeiten erhöhen, indem
man zum Beispiel im Ehrenamt oder Praktikum beginnt, um dadurch sichere und
inspirierende Orte für die Entwicklung von Kreativität fördert.
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► Öffentliche Institutionen, kulturelle Organisationen und Akteure in der
Zivilgesellschaft in die Brückenbildung zwischen Erziehung/Können und
Jugendbeschäftigung einbeziehen und damit die aktive Staatsbürgerschaft pflegen.
► Anstellungsprogramme, sozialer Existenzgründungs-Schemen und kleiner
Förderprogramme für junge Schöpfer, Künstler und Kunstspezialisten, als auch
Jugendvereine und -organisationen aufbauen.
6. Beachtung und Wissen über Jugendkultur fördern
Die für diese Studie ausgearbeiteten Berichte zeigen, dass, obwohl Jugendliche die
meistbeachteten Mitglieder einer Gesellschaft sind, ihr Image oft nachteilig, negativ
und problembehaftet ist. Es bedarf einer dringenden Änderung in dieser Projektion der
Jugendlichen, damit sie als Mitglieder mit allen Rechten und Verantwortungen in der
Gesellschaft mitwirken können, und damit sie sich anerkannt und respektiert fühlen.
► Informationen über Jugendkulturen, Kreativität und Ausdruck fördern.
► Spezifische Kanäle für Jugendliche erschaffen, um ihr kreatives Material in der
Öffentlichkeit (Festivals, TV-Programmen und anderen Kanälen) ausstellen zu
können.
► Partnerschaften zwischen Jugendgruppen, dem kreativen Sektor und
Jugendberatern fördern.
7. Zugang zu Kultur als Teil der Strategien der sozialen Eingliederung,
Antidiskriminierung und Gleichberechtigung
Ungeachtet der wachsenden Multikulturalität in Europa gibt es einen Bedarf nach mehr
Strategien, in welchen Kulturpolitik und -pläne als wichtige Elemente der
Antidiskriminierungspolitik und konkreter Methoden gegen Rassismus und
Ungleichberechtigung angesehen werden. Die Aktionen in diesem Bereich sollten auf
langfristige, systematische und strukturelle Weise Zugang fördern. Aktionen in diesem
Bereich unterstützen Verständnis und Respekt für kulturelle Vielfalt, entwickeln
interkulturelle Fähigkeiten und regen passiv junge Menschen zur Partizipation bei
kulturellen Erfahrungen an.
Die Mitgliedsstaaten sollten deshalb:
► Programme und Strategien (Kulturnetzwerke, Bildungsprogramme, interkulturelle
Arbeitsgruppen, etc.) zur Unterstützung des Kulturzugangs für Jugendliche aus
gefährdeten Gruppen einführen und dadurch sozialen Zusammenhalt fördern.
► Spezielle Programme für Menschen und Organisationen schaffen, die mit
Jugendlichen und an den Themen Zugang, kulturelle Recht, Programmgestaltung,
Marketing, Bewusstseinsförderung und Kreativität arbeiten.
► Junge Menschen aus gefährdeten Gruppen zur Partizipation in der Kunst- und
Kulturerziehung und kreativer Existenzgründung ermuntern.
► Die Beachtung von Minoritäten in den öffentlichen Medien fördern.
► Das Wissen von Jugendlichen über Kultur und Kulturerbe in anderen Europäischen
Ländern gegebenenfalls durch neue Technologien und Bildungs- und
Austauschprogramme anregen.
► Sprachunterricht und Spracherwerb in allen Levels fördern.
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8. Neue Informations- und Kommunikationstechniken and neuen Technologien
für kulturelle Zwecke unter den Jugendlichen vorantreiben
Das digitale Umfeld ist ein Schlüsselfaktor in der heutigen Jugendkultur; es kann als
ein Vektor für das kulturelle Engagement genutzt werden.
► Den Zugang zu neuen Technologien für alle Jugendliche erleichtern, um
kulturellen, kreativen und expressiven Fähigkeiten zu entwickeln.
► Die Kommunikation und Medienkompetenz junger Menschen fördern, auch in ihrer
Rolle als Online-Kunstschöpfer.
► Eine, wenn auch kritische Annäherung an die Qualität von Online-Information
entwickeln, wobei stets der Sicherheitsaspekt in Bezug auf die Internetnutzung
beachtet werden sollte.
► Informationen über geistige Eigentum, angemessene Nutzung des Internets und
sozial Verantwortung fördern.
► Die kreative Nutzung von Informations- und Kommunikationstechnik durch
Programme und spezifische Hilfsmittel fördern.
9. Unterstützung von Forschung, Wissensbildung und Informationsaustausch
Aus unterschiedlichen Bereichen werden Forschungen und Informationen benötigt, um
eine Wissensbasis für Methoden und strategische Planungen aufbauen zu können.
► Die Forschung in den Bereichen Jugendkultur, Kreativität, kulturelle
Staatsbürgerschaft und die Rolle der Kultur für soziale Beziehungen unterstützen.
► Ein Gruppe von Indikatoren und Wiedervorlagenverfahren entwickeln, um den
Zugang von Jugendlichen zu kulturellen Institutionen, Aktivitäten, Einrichtungen,
Bildungseinrichtungen, zu Kooperation und interkultureller Kommunikation
ermessen zu können.
► In Zusammenarbeit mit professionellen Forschern und Jugendlichen Themen für
weitere Untersuchungen identifizieren.
III. Vorschläge für die Zivilgesellschaft
1. Kulturinstitutionen sollten dabei helfen, für den Kulturzugang junger Mensch
und ihren kreativen Ausdruck, Zugang und unterstützende Umfeldern zu
ermöglichen und zu verwirklichen.
► Eine wesentlichere, aktive Rolle in Bezug auf den Kulturzugang von Jugendlichen
spielen.
► Initiativen entwickeln, die Jugendliche auf allen entscheidungsrelevanten Levels
einbeziehen (Planung von Programmen, Budgetmanagement, Pflege, Marketing,
Entwerfen von Aktivitäten, etc.).
► Sich in spezifischer Kommunikation mit Jugendlichen über ihre Aktivitäten
engagieren, insbesondere durch digitale, erzieherische Instrumente, durch andere
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►
►
►
►
Methoden der neuen Technologien und spezifische Programme kulturellen Inhalts,
der an die Erwartungen von Jugendlichen angepasst ist.
In öffentlichen Bemühungen teilnehmen, die auf eine Verringerung der Hindernisse
für einen Zugang zu Kultur von Jugendlichen abzielen.
Privatstiftungen und Spender kontaktieren, um sie in für einen Kulturzugang für
Jugendliche zu gewinnen.
Fahrpläne von Kulturaktivitäten, die an Jugendliche gerichtet sind anpassen, um
sie mit dem Alltagsleben der jungen Menschen kompatibel zu machen.
Selbstentwickelte und -organisierte Aktivitäten für Jugendliche fördern.
2. Jugendorganisationen und diejenigen, die aktiv mit Jugendlichen
zusammenarbeiten sollten auch eine aktive Rolle bei der Förderung des
Kulturzugangs für Jugendliche spielen
► Partnerschaften mit kreativen Sektoren entwickeln
► Projekte mit Bezug auf Kultur für Jugendliche und ihre Aktivitäten anregen
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1. PRESENTATION OF THE STUDY
In August 2008, the Interarts Foundation was selected to carry out a study on the Access of
Young People to Culture in Europe as a response to the May 2008 Call of Proposals of the
Education and the Audiovisual and Culture Executive Agency in cooperation with the European
Commission. The proposal had been designed under call No. EACEA72008/01, in the context
of the Action 5 of the Youth in Action Programme (2007-2013).
This study should allow the collection and full analysis of existing national practices in the field
of access of young people to culture. In particular, it should aim to:
• analyse existing best practices at national level and come up with a typology of
measures facilitating access of young people to culture, illustrated by specific examples;
• analyse the relevance of the types of measures;
• identify the obstacles that prevent young people from being able to take full advantage
of culture and define any gaps;
• supplement this analysis with relevant case studies based on good practices applied in
Europe;
• draw conclusions and recommendations.
The project was initiated in December 2008 with the participation of the co-ordinating agency,
five experts in cultural and youth policies and youth culture and with 27 national correspondents
that were each asked to deliver a report on one EU Member State by answering to a set of
questions on policies, actors and best practices. The group of national correspondents was
composed by young researchers, cultural managers and civil servants from culture and youth
fields. They were chosen based on their knowledge on cultural and youth policies or practical
experience in the field. Based on the outcomes of the national reports and the research of the
main authors the present study is the result of that process. The study includes an analysis of
youth policies, and other actions related to the access of young people to culture,
complemented with a set of best practices. Furthermore, the study presents an extensive
overview of existing resources, materials, most relevant actors and youth culture trends in
Europe. The study is complemented with a set of recommendations for cohesive policies at
European, national, regional and local level.
1.1. Framework of the study
“Over the last year, we met many young people in the streets, and asked that aspecto
in their lives they would like to change most. Most of them answered: “improving
access to hobbies and culture in general.” Following this survey, we decided to launch
a new national campaign which would improve their access to culture. Consequently,
we needed to know more about the needs of young people. As a result we were able
to say: “This is a priority because this has been highlighted as one by the young
people we interviewed”
Daniel Cerques,
Workshop on the Results of the Study on Access of Young People to Culture,
Barcelona, 28-29 May, 2009
Access of young people to culture is of growing concern to the Member States of the European
Union. Indeed, Member States tend to develop strategies for fostering access of young people
to culture. Even though there has been quite a debate in several European countries about the
number of hours devoted to arts and culture in the school curricula, Member States tend to
foster the participation of children and young people in cultural life through different campaigns,
initiatives and programmes. Children and young people are considered as priority groups at
least when it comes to educational terms even if access and forms of participation may not reply
to the officially planned ones, and even if policies may not answer to the needs and demands of
young people.
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The aim of the study is thus to offer information on national practices and obstacles to
participation in cultural life.
Cultural expression is one of the Key competencies defined in the Recommendation of the
European Parliament and of the Council on 18 December 2006 on key competencies for lifelong
learning. This interest in fostering cultural self-realisation and creativity of young people and
their access and participation in cultural life, reflects a fundamental aim of cultural policies that
is to assure a quality of life and enjoyment of the citizen.
Based on former generations of Youth programmes since 1988 the European Parliament and
the Council adopted in November 2006 Decision No. 1719/2006/EC to establish the Youth in
Action programme for 2007-2013. The programme is directed to young people aged 15-28 with
the aim to “inspire active citizenship, solidarity and tolerance among young Europeans and to
involve them in shaping the Union’s future.” Action 5 “provides for the involvement of the
Community in promoting European cooperation in the youth field. More specifically, Article 5 (2)
provides for support for activities to bring about better understanding and knowledge in the field
of youth.4” Furthermore, on 22 May 2008 the Council of Ministers adopted a resolution on the
participation of young people with fewer opportunities. This resolution mentions cultural
exclusion as one of the obstacles to participation. The Commission has called on Member
States to implement strategies to foster the participation of young people and facilitate their
access to public and cultural life.
Furthermore, in its 2006 Communication to the Council on European policies concerning youth
participation and information (a follow-up of the White Paper on a New Impetus for European
Youth: Implementing the common objectives for participation by and information for young
people in view of promoting their active European citizenship), the Commission encouraged the
Member States to foster participation of young people through coherent information strategies.
In addition the Commission adopted in 2007 a communication to “promote young people’s full
participation in education, employment and society” including access of young people to culture
“as essential to active participation in society.5”
More recently, on 27 November 2009 the Council of the European Union adopted its
conclusions on Promoting a Creative Generation – developing the creativity and innovative
capacity of children and young people through cultural expression and access to culture.6 The
document, that is further referred to in Chapter 3.1., acknowledges the importance of access to
cultural expressions, creation and works of art as an important element of personal
development, identity, self-esteem and sense of belonging and includes a set of priorities for the
promotion of a creative generation in the European Union.
The Council resolution on a
renewed framework for European cooperation in the youth field (2010 – 2018) adopted the
same day also acknowledges creativity and culture as one of the main fields of action.
4
Tender specifications, No EACEA/2008/01
Communication of 5 September from the Commission to the European Parliament, the Council, the European
Economic and Social Committee and the Committee of the Regions promoting young people’s full participation in
education, employment and society [COM(2007) 498
6
Council conclusions on Promoting a Creative Generation – developing the creativity and innovative capacity of
children and young people through cultural expression and access to culture. 14387/09 CULT 62. Brussels, 5 November
2009.
5
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1.2. Conceptual scope, methodology and structure
1.2.1. Access and access to culture
Culture does not only contribute to the forming of identities and the sense of belonging but also
reflects the forms of coexistence and construction of new symbolic references in multicultural
and plural societies. Many sources state that someone who participates in culture is anyone
who attends a cultural activity (that is to say, attends a concert or takes part in a creative writing
workshop) or engages in culture in some other way such as reading a book, speaking a
language, visiting a cultural monument or watching a movie. Participation in cultural life is
considered to have many benefits, from empowerment to self-confidence and self esteem, later
in life. There are studies that show that children that have been involved in cultural activities
develop a greater consciousness towards other people and greater self-esteem. Still, the very
concepts of access and participation are changing through the use of new technologies. John
Holden7 has demonstrated that accessing cultural activities through the internet adds to the
democratisation of culture, engages the public in shaping the nature of cultural provision and
allows people to contribute to and shape culture for themselves. New technologies might also
make access and participation in cultural life possible for people that are harder to reach or do
not have the same physical opportunities for participation.
According to the UNESCO Recommendation on Participation by the People at Large in Cultural
Life and Their Contribution to it (1976), access to culture means "concrete opportunities
available to everyone, in particular through the creation of appropriate socio-economic
conditions, for freely obtaining information, training, knowledge and understanding, and for
enjoying cultural values and cultural property and participation means concrete opportunities
guaranteed for all – groups and individuals – to express themselves freely, to communicate, act,
and engage in creative activities with a view to the full development of their personalities, a
harmonious life and cultural progress of society."
Access and participation are closely linked to social cohesion. For young people it can mean the
possibility to have a say, or an influence, on their own conditions and own cultural future.
Access and participation are some of the most crucial elements of cultural rights of young
people and their translation into policies. “Policies of any kind should not be implemented,
planned or designed without the participation of those whom they are going to effect and in a
shared cultural space it is the access and participation in cultural life that forms an essential part
of making policies successful8”.
It has been said that without access to culture and participation in cultural life people do not
have the same possibilities to develop the social and cultural connections that are important to
maintaining a satisfactory coexistence in conditions of equality. Finlan O’Toole9 claims that
participation in cultural life equals full enjoyment of what it means to be human and exclusion
means dropping out of the community and from the full sense of being a human. When people
do not have access to cultural life they might not be able to have the same sense of citizenship
and may not have such a strong sense of commitment towards the community / society.
Along the years, access has changed forms. Apart from classic channels and institutions, youth
culture channels are dynamic and often informal, and many times do not enjoy official
recognition. The ways young people access culture as users or creators, or simply participants
of a cultural experience, are various and sometimes experimental. Access to culture goes
beyond accessing cultural products, attending spaces and receiving information, it is also about
an experience of personal development and enjoyment.
7
Holden, (2007).
Laaksonen (2010)
9
O’Toole (2006)
8
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1.2.2. Objectives and methodology
According to the Call for Tenders, access to culture comprises the following aspects:
⇒ Access of young people to culture as users (for example, opening up of cultural
sites, facilitating access to museums, collections, concerts, libraries).
⇒ Access of young people to culture as creators outside of educational and vocational
training systems (support for their forms of expression, development of their
creative potential, facilitating creation).
The study concentrates on the access of young people to the above-mentioned elements and
the obstacles for young people to fully realise their rights. In this study, access to culture is
understood as a [normative] right, which – as any human right – should be provided, respected
and fulfilled by governments and regional and local administrations.
The study was elaborated in 2008-2009. The team consisted of a general coordinator/project
leader (Interarts Foundation), five project experts and 27 national correspondents. The five main
authors were selected based on their experience and expertise in the field of youth culture and
cultural policies.
The specific objectives of the study are:
⇒ To identify relevant fields of actions where actions aimed at fostering access of young
people to culture can and have been taken, including policy-processes, education, civil
society action, private sector and youth organisations
⇒ To identify relevant practices carried out by national authorities and other actors (NGOs,
local communities, associations) in different Member States in order to identify form and
patterns of the access of young people in culture
⇒ To analyse different types of measures taken by different actors in order to produce a
general picture of the European field related to [cultural] youth policies
⇒ To identify hindrances which currently prevent authorities from adopting a youth
perspective in their cultural policy planning and programmes
⇒ To identify obstacles that hinder young people’s access to and participation in culture
⇒ To present good practices from different Member States
The project was officially launched in December 2008 with a kick-off meeting in Brussels and an
experts’ meeting in Barcelona. The experts’ meeting was accompanied with a background
document that represented the first results of the desk research carried out by Interarts (project
coordinator). The results of the experts’ meeting included decisions on the questionnaire to be sent
to national correspondents, provisional index of the study, responsibility areas and conceptual
framework.
One of the challenges of the process has been the concept of young people. Countries and
organisations active with youth tend to define young people in different ways, ranging from 0 to
30 years. In the Youth in Action programme young people are referred to be aged 15-28 (in
some cases 13-30). The United Nations Youth development indicators define young people to
be from 15 to 24 years of age. The experts’ group adopted a decision in their December 2008
meeting that the central group of the study would be people between 15 and 24 years of age
and that secondary attention would be given to children from 12 to 15 and young adults from 24
to 29.
The experts’ team drafted a questionnaire that was sent to 27 national correspondents (one for
each Member State) on national, regional and local policies and actions (main policy-lines
related to access to young people including policy principles, plans of actions); social and
cultural factors (main features of youth culture, facts and figures on access); normative
framework (cultural rights legislation related to the access of young people to culture);
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approaches and debates (current trends in youth culture); studies and surveys; stakeholders,
institutions and actors (at all levels and both public and private as well as the civil society) and
analysis of existing national practices. The national report for each country was produced by a
correspondent with expertise in the field of research, training, project evaluation or cultural
management.
The 27 national correspondents received the questionnaire by the end of 2008 and were given
until 31 March 2009 to deliver their reports. They were given the possibility to answer through
an Internet page/private area created for the project.
Based on the information gathered from the national reports, desk study, bibliography and other
resources the study is indented to cover several levels of analysis:
⇒ Analysis of policies at national, regional and local level as regards the opportunities of
young people to take part in cultural life. These include policy principles, plans of action,
programmes, specific projects, money allocation decisions, government sheets, policy
planning initiatives and other documents.
⇒ Analysis of key actors at national, regional and local level as regards the opportunities
of young people to take part in cultural life. These actors include governmental bodies
but also youth organisations, NGOs, training and education centres and organisations,
associations, local communities and other relevant actors that foster the access to
culture of young people.
⇒ Analysis of existing legal framework at national, regional and local level as regards
the access of young people to culture. These normative tools run from the constitutional
framework to specified legislation and other normative (even if not legally binding)
instruments.
⇒ Analysis of existing bibliography and relevant studies at European, national,
regional and local level. These include literature devoted to the theme in different
countries, studies carried out by different actors (including universities), participation
polls and studies carried out by different institutions (including art and culture
institutions, organizations and art and culture associations).
⇒ Analysis of the opportunities to participate in cultural life of young people
representing groups of special needs. The young people represent different ethnic
and linguistic minorities, young people with disabilities, sexual minorities, and young
people in danger of social and cultural exclusion, among others.
⇒ Analysis of the obstacles that prevent participation. These obstacles can run from
economic conditions to the lack of physical opportunities (for example in rural areas), or
the difficulty of matching existing programmes with the needs and demands of young
people.
⇒ Analysis of existing youth culture patterns in Europe.
⇒ Analysis of best practices in Europe.
⇒ Conclusions, recommendations and actions.
In order to include a wider perspective, the coordinating team has also contacted 2-3 youth
organisations in each country on the questionnaire themes. The organisations were given until
the end of June 2009 to give their answers.
The coordinating team has also decided to open a Facebook-page for the project in June 2009 that
would allow young users in Europe leave their comments on the access of young people to culture
and their suggestions for better policies. The page stayed open for 6 weeks until the end of July
2009 when the first version of the study was delivered to the Commission.
At the end of the process, the coordinating team organised a workshop for conclusions and
recommendations with all project experts, nine national correspondents and three invited guests
that represented European youth organisations. The objective of the workshop was to come up
with a set of recommendations, identify results based on the experience of the participating
parties and gather different opinions and observations on the theme.
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1.2.3. Structure of the study
The study has been structured to cover different dimensions of the access of young people to
culture. The objective is to give a large snapshot of the European field and the different
opportunities and obstacles young people face when accessing culture. The authors would like
to remind the reader that it has been impossible to gather an equal amount of information from
all countries and in some cases the information has not been available or accessible.
Nevertheless, national reports were received from all countries and the information has been
used and analysed to the extent it has been possible.
Chapter one of the study presents a conceptual introduction to the theme as well as includes a
short reflection on the framework, methodology, main elements and previous studies at the
European level. National studies and other studies of interest are listed in the bibliography in
Annex I and in the analysis of national studies in Annex III.
Chapter two presents a brief overview on existing international and national legal instruments
on the access of young people to culture. The tables related to this chapter can be found in
Annex II. These tables refer basically to the elements related to access and cultural rights in the
constitutional provisions of the Member States as well as the state of ratification of the main
international instruments.
Chapter three covers administrative structures, policy planning, specialised policies and
agencies and other actors that function in the field of access to culture at national, regional and
local levels. This Chapter describes the measures countries have adapted and what are their
main practices in the field of access of young people to culture. Chapter three forms a central
part of the study since it focuses on processes and available structures and gives less attention
to their outcomes.
Chapter four concentrates on youth culture tendencies and patterns in Europe by putting special
attention to access of young people to culture. The information of this chapter is obtained mainly
from the national reports and emphasis is given to activities where young people behave as
consumers or producers of cultural expressions. The aim of the chapter is to connect the
previous chapter (structural) with the contemporary cultural expressions in the Member States
(outcome). The reader should keep in mind that individual examples should be taken as
examples of existing patterns and not as a prevailing model in their respective countries.
Chapter five tackles the main obstacles derived from the national reports that young people face
when accessing culture. The obstacles, divided in themes, form a base for the policy
recommendations described in Chapter 7.
Chapter six gathers inspiring or successful examples (‘good practices’) from the Member States.
The examples are divided into nine categories that are illustrated by experiences from different
countries. Chapter six also describes the nine case studies that all observe access of young
people to culture from different angles.
Chapters seven and eight gather the conclusions and recommendations of the study.
The annexes of the study include inter alia the bibliography, the list of best practices from all the
countries (from 1 to 5 per country), the description of the case studies, information on national
studies and statistics, and other useful information.
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1.3. Youth and cultures: a continuous dialogue
1.3.1. Youth culture(s)
The access of young people to culture is placed in a theoretical context in this sub-chapter.
The terms “youth” and “culture” are both contested concepts. Their compound “youth culture”
evokes notions of “counterculture” and “subculture” which has both public and private dimensions
of youth culture. One could term the changes in technology as increasingly privatising this phase of
the lifecycle e.g. through Facebook and other social networking websites etc.
Taken as a stage of the lifecycle, youth - the state of being young – is on one level a biological
stage of the ageing process. The academic study of youth has historically straddled a number of
subjects: sociology, psychology and psychosocial development10 the 'radical criminology' and 'new
deviancy' movements11 and educational sociology12 with its focus on anti-school leisure cultures
have all been past areas of research. In some senses the divisions between youth and old age
are arbitrary and the frontiers between them in all societies are a matter of struggle and
negotiation witnessed in the way youth is constructed legally by legal prohibitions and rights
demarcating when people can drink, marry, the school-leaving age etc. Differing participation
rates in post-compulsory education and the expectation that national service is undertaken in
different European nation-states are further markers.
Distinctive “spectacular” youth styles, also termed ‘subcultures’, burgeoned in the western
countries after WWII, accompany wider social, economic, educational, labour and ideological
change. Youth researchers have long been preoccupied with related questions of integration of
young people into productive and reproductive structures. In this report we wish to use the
plural term ‘youth cultures’ (as opposed to the singular ‘Youth Culture’) to capture their internal
heterogeneity, considering daily life rather than simply focusing on delinquency and/or leisure
time. Youth is a period of the lifecycle which is a transitory condition: young people become
adults (and new generations replace them). In spite of this, in unequal conditions of power and
resource, certain young groups have been able to keep considerable levels of self-affirmation13.
Social articulation of youth cultures can be approached from three scenarios:14
a) Hegemonic culture reflects the distribution of cultural power at the scale of the wider
society. The relationship of young people with the dominant culture goes through the channels
of transmission of this power: school, productive system, army, communication media,
institutions of social control, etc. In front of these institutions, young people establish
contradictory relationships of integration and conflict that change through time. Youth cultures
coming from the same parental culture can negotiate their relationship in different ways to the
hegemonic culture: working-class youth cultures can adopt adapting solutions (the “good
student” the “industrious young person”) or dissident solutions (the “bandit” or the “thug”);
middle class youth cultures can follow the regular itineraries (“get established” or “make a
career”) or rebellious itineraries (“party” or “rebel”).
b) Parent culture, despite its name implying one’s immediate mother and father, it can be
considered as broader cultural networks defined by ethnic and class identities in which youth
cultures are developed as subgroups. The rules of behaviour and values of the groups of origin
can act as the reference points for youth: to conform to, rebel against etc. Over and above the
parent-child relationship these encompass a wider set of daily interactions between members of
different generations within the family, the neighbourhood, the local school, friendship networks,
associations, etc. The young person acquires basic cultural elements through the primary
10
Goffman (1956; 1963)
Becker (1963); Cohen (1971); Downes (1966); Matza (1969); Matza and Sykes (1961)
Rowntree and Rowntree (1968); Sugarman, (1973)
13
Lutte (1984); Juliano (1985)
14
Hall and Jefferson (1983)
11
12
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socialisation, (language use, sexual roles, forms of sociability, non verbal behaviour, aesthetic
criteria, ethnical adscription criteria, etc) which will later be used to elaborate their own lifestyles.
c) Finally, generational cultures refer to the specific experience that young people acquire
within institutional spaces (school, work, and communication media) within parental spaces (the
family, the neighbourhood) and especially leisure spaces (the street, the ballroom, leisure
places). The young person meets other young people in these spaces and identifies with certain
behaviours and values, different from those of the adults.
Youth cultures are a two way street:
They can be approached by considering the cultural construction of youth (the ways
by which every society moulds the ways of being young). This direction focuses on the
impact of adult institutions upon the world of youth, and can lead to the trans-cultural
study of youth and the criticism of ethnocentric and non-historical visions prevailing in
most of the academic literature about it.
Alternatively one could study the juvenile construction of culture (the ways by which
young people participate in the processes of cultural creation and circulation). This
direction, far less explored, focuses on the influence of the youth world upon society as
a whole and leads to the study of youth micro-cultures, understood as an expression of
the creative, not just imitative capacity of young people.
1.3.2. Cultural construction of youth
As well as a concept with legal markers attached to it, or rather around its fringes, youth is in many
ways also a socially constructed category, but unlike other constructs it is a transitory or liminal
phase in Weinstein's words 'a socially defined period in the life cycle between the dependency of
childhood and responsibility adulthood.15' The American theorist Henry Giroux points out "Youth is
a fluid historical and social construction as well as a space, location and embodiment in which the
personal and social intersect and give meaning to the particularities of individual and social
differences."16 He stresses the importance of racial and class divisions and of lived experience. It
would appear that 'youth', and the set of political and consumerist objectification-centred
assumptions that accompany it, are steadily extending. Its application stretches to lengthening
periods of the life cycle, (as witnessed in attraction world leaders such as Clinton, Blair and now
Obama whose voters are purportedly 'young') and into childhood (e.g. the expanding pre-teen
market). Perhaps it is less useful however to think of 'youth' as a category with specifically
demarcated boundaries rather than an ever more fluid category encompassing a 'state of mind'; an
idea which will be returned to. Increased life expectancy too has lengthened the period that
constitutes 'youth' in the life cycle. The post-war advent of western youth culture has also been
key to increasing juvenilisation in the twentieth century as the state of being young becomes
increasingly attractive by those who can no longer claim to belong to this constituency in simple
numeric terms.
Any youth culture will be a product of social conditions it operates under and social structures in
place: the set of rights and duties that define the identity of the young person within a
determined social structure. Youth cultures are constructed with materials coming from
generation, gender, class, ethnic and territorial identities.
a) Generation. This notion refers to an age group socialised in the same historical period
although distinguishing between one generation and another is not straightforward as
generations are importantly not homogeneous groups. Historical and structural factors shape
generations as do the subjective experiences of actors, and “memories in common”17.
“Generation events” can also occur for example a war, a protest movement). The significance of
generation is often realised after the point in time of their emergence. The Paris riots of 1968
15
Weistein (1995:61)
Giroux, Henri (1997:4)
17
Augé (1987: 33).
16
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may have had very little relevance to many youth in the rest of Europe who were far removed
from "les évènements". Youth cultures may appear suddenly in the public eye, become
commercially appropriated and then fade or even revived by later generations. Young people
are a category ripe for sociological analysis and youth culture can be seen as a metaphor of the
processes of cultural transition, almost as a condensed image of a changing society, in terms of
their ways of life, political regime and basic values.
b) Gender. The classic “collection” of youth cultures that people equate with post-war youthful
expression: mods, rockers, skinheads, punks etc, have tended to be constructed as maledominated phenomena usually expressed in public arenas such as street corners. For many
years much youth cultural activity practised by girls contrastingly existed in comparatively
private context, that is, beneath the gaze of the early male researchers, a state of affairs
described as “invisibility” by Garber and McRobbie. However this picture in itself is now
outmoded and neglects the role of for example of women of minority ethnic backgrounds. More
recent research by Pini show there is recognition of the active part played by girls in youth
cultures as well as increasing research on fan cultures and bedroom cultures played out by both
genders in multi-mediated worlds by current generations of youth researchers. Crucially this
vein of work demonstrates how the young lives of young girls and boys are lived in multiple
scenarios. Furthermore, as the forthcoming results of this report will show, girls tend to be more
active participating in relevant positions in the civil society cultural organizations, art creativity
and social networks.
c) Class. In the post-war years age and generation were substitutive factors of class in the
explanation of social conflict and social change in western countries. Factors such as mass
schooling, consumerism and mass-produced fashion, rock and roll etc all appeared in the same
era creating fertile conditions for youth culture. Overarching these, were arguably class
differences between young people, the social basis of youth cultures and their relationship with
the dominant culture. For the historically important authors of the Birmingham School (influential
UK studies from the 1970s) youth cultures were attempting to confront the unsolved
contradictions in the parent culture, as symbolic elaborations of class identities, generated by
the young people's transition to adult life. The changing relations between young cultures and
parent and dominant cultures can explain the coexistence of different youth styles at every
historical moment broadly speaking, build social boundaries but as youth culture becomes selfreferential of its own past and the category of youth elongates to encompass both older and
younger people maintaining any such thing as a clear cut “generation gap”. The relationship
between youth cultures and class has been stressed by writers such as Paul Willis in the classic
study “Learning to Labour” which theorised that young people ultimate reproduce parent culture
i.e. the specific social and family environment that plays the role of primary socialisation.
Although they may identify with other members of the same age group, young people cannot
ignore the fundamental aspects that they share with adults of their own social class (educational
opportunities, labour itineraries, town problems, leisure spaces, etc).
d) Ethnicity. The Europe of the twenty-first century is one of ever-diversifying character.
Second-generation young immigrants linked to colonial pasts, who have experienced their
cultures of origin, are uniquely placed as are more recent arrivals that have built up this new
Europe. They will have identifications to what is now their home, but this may be restricted if
they face discrimination. Through studying street gangs Feixa18 has looked at youth cultures as
“symbolic solutions” to the unresolved problems of the parent culture exemplified street fights
between gangs of Hispanic, blacks, Italians, Chinese and other ethnic minorities in North
American cities which have often been represented in the cinema (e.g. West Side Story). It is
nonetheless dangerous to reduce everything to binary division and opposition between “us” and
“the others” and his study wishes to avoid clichés of ethnic generational gap and the now
discredited “caught between cultures” thesis. Ethnically hybrid post-war youth cultures borne
from decolonization include Caribbean influenced reggae music and Asian underground music
in the UK and rai music of Mahgrebians in France or Turkish German hip hop. To some degree
these multiethnic contexts have all given rise to processes of “creolisation”, that is to say:
syncretic creations fruit of the interaction between young people from different origins, like the
18
Feixa (1993b)
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“micro culture” studied by Helena Wulff in London.19 But even in these contexts the young
people’s “reinvention” of ethnic identity is fundamental.
e) Territory. In an age where globalisation is seemingly all-pervasive, considerations of the
“local” in specific neighbourhoods in shaping destinies is also becoming ever-important for
example in devolved power, sub-regional decision-making and the principle of subsidiarity as
recently outlined in the Lisbon Treaty. There is a tendency in the existing academic literature to
historically envisage youth cultures as essentially urban metropolitan phenomena. Most of the
spectacular styles have originated in major cities of western countries (Chicago, San Francisco,
New York, London, Paris) with an influence that spreads through communication circuits such
as mass media, rock and roll, and fashion across rural/urban/metropolitan borders. But this
does not mean that in a small village, a middle-sized town or a big city the groups are the same,
or that being “punk” means the same in all of these territories. There’s an urgent need for
empirically based comparative analysis to establish correlations at the national and international
levels. The emergence of youth, since the post-war era, has encompassed a redefinition of the
city in terms of space and time, we are used to hearing claims of the inter-connectedness of
social phenomena in multi-media times yet youth culture can also evoke and be tied to certain
physical places (a corner, a specific leisure centre, an area in the city). Moreover, the action of
young people helps rediscover forgotten or marginal urban spaces that gives new significance
to certain areas of the city, and makes squares and streets more human (maybe with
unforeseeable uses for example squat parties in disused warehouses abandoned by industry in
the face of industrial decline). Different generations of young people have from time to time and
place to place, recovered public spaces - that had become invisible - with parties, leisure routes
and also graffiti and demonstrations, questioning dominant urban assumptions. At the local
level, the emergence of youth cultures is as much about neighbour identities as much talked of
centre-periphery dialectics. Youth cultures necessarily adapt to the ecological context,
sometimes establishing an unusual symbiosis between “style” and “environment”. On the other
hand, youth cultures create their own territory, taking hold of certain urban spaces that they
label with their own marks: the corner, the street, the wall, the ball-room, the disco, the urban
centre, leisure areas, etc.
1.3.3. Juvenile construction of culture
As a term ‘culture' presents further problems in neatly defining it. To look it up in a dictionary one is
met with multiple explanations. Author of the celebrated book Subculture, Dick Hebdige called it "a
notoriously ambiguous concept20". The cultural historian Raymond Williams called it "one of the two
or three most complicated words in the English language21" His definition is threefold: firstly
intellectual, spiritual and aesthetic development, secondly a 'way of life' and thirdly artistic
development. The term is often demarcated into the high culture vs. mass (or popular) culture
dialectic. Needless to say, youth culture is synonymous with mass produced popular culture. The
study of culture has a potentially wide area of application, including within its boundaries for
example the following four possible elements: (i) official leisure policies entailing containment and
control via state structures, (ii) the economic organisation of creative and cultural industries, (iii)
textual content analysis as well as (iv) the symbolic practices attached to the production and
reception of cultural processes which, as we will see, have often been equated with resistance.
Culture conceptualised as a lived, everyday experience, rather than the preserve of the privileged,
is central to Willis's idea of a 'common culture’, which underpins youth culture.22 In the specific
arena of youth culture, the root term 'culture' has given rise to numerous variants; most significantly
'subculture' which carries implications of the oppositional and unofficial. The political possibilities of
youth and youth culture were central to subcultural studies. Leading proponent Dick Hebdige
explained in his book entitled Subculture: the Meaning of Style: 'spectacular subcultures express
19
See, for example, Wulff, Helena ((1988).
Hedbige, Dick (1979:5)
Williams, Raymond (1976:76)
22
See, for example, Willis (1990; 1998)
20
21
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forbidden forms (transgressions of sartorial and behavioural codes, law-breaking etc).23'
demonstrating the link between subcultures and crime.
While received wisdom dictates that western youth culture emerged after the Second World War,
stimulated by factors including rock and roll, consumerism, compulsory schooling and urban
restructure/decay earlier historical antecedents can be traced.24 It is not an overstatement however
to claim that demographic change and technological advance created fertile conditions for mass produced western post war youth culture. The advent of the affluent teenager in the 1950s provided
an emphatically materialist contrast with the comparative period of depression, austerity and
material sparseness known by the parent generation.25 The economic shift from a work-based to
leisure-based society has been cause and effect of youth culture’s growth over the twentieth
century26: arguably the two have become increasingly interlinked with ever-more porous
boundaries between them rather than linear logic would suggest. The growth of the creative and
cultural industries has largely been youth-driven.
In much of Europe the advent of post-war youth culture and popular culture has been seen as part
of a threatening process of 'Americanisation'. Sometimes negative accounts come across as
sentimental, nostalgic and wistful in mourning the passing of the honourable 'old way of life' which
fear lowbrow US trash threatening to erode national individual cultural identity. Parallels can be
drawn with the Frankfurt school critique27 around the supposed manipulative powers and negative
homogenising effects of popular culture. The arguments remain but the targets have shifted to
violent videos, Sony playstation and the Facebook have become modern substitutes – although not
all of these are straightforwardly American.
The compound term youth culture is an evocative phrase. It has figured in the popular
imagination for 4 decades now. Its cocktail components are comprised of hedonism and
idealism. The pleasure-seeking hedonist pole around which youth culture revolves is intrinsic to
the very state of being young and contains connotations of irresponsibility. Common-sense
characterisations of youth culture as equating with sex, drugs and rock and roll intersect with
these two elements. Fictional representations in the immediate post-war period have commonly
portrayed young people as independent, (as cultural producers and consumers) whilst
simultaneously they were held in public esteem as objects deemed necessary of the exercise of
restraint and control, (by policy) for their recklessness. Youth culture was present on stage,
screen and via the printed word. Popular American films such as Rebel Without a Cause (1955)
portrayed the glamour of juvenile delinquency and characterised young people as much
misunderstood. Giroux comments 'Hollywood and other conduits of media culture capitalised on
such fears by conceiving of youth as both a social threat and a lucrative market28'.
Traditionally youth carries with it a set of assumptions as a period of the life cycle relatively
unencumbered by the responsibilities of adult life, thus youth - the category of people - is looked
upon jealously by those later on in life. Oscar Wilde once commented that 'youth is wasted on
the young' alluding to the youthful abandon that the young are able to conduct themselves with.
Sexuality for example continues to be one of the most complex aspects of youth considerations
today – being at the heart of debates on subjects from teen pregnancy to paedophilia.
All youth cultures crucially integrate heterogeneous material and immaterial elements, coming
from trends, music, language, cultural practice and focal activities:
a) Language. Youth cultures frequently exhibit new forms of oral expression that contribute to
characterising them, as opposed to the adults’ group: words, idioms, phrases, intonation, etc.
Young people can borrow elements from previously marginal argots e.g. drugs argot,
delinquency argot and the argot of ethnic minorities and utilise these in the creation of new
language. The use of metaphors, semantic inversion and playing with language (like the French
23
Hedbige, Dick (1979:91–92)
See, for example, Pearson (1983).
25
cf. Goldthorpe et al., (1968).
26
See Roberts (1999)
27
(e.g. Adorno and Horkheimer, (1979)
28
Giroux (1997)
24
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verlan: changing the order of syllables) are common procedures. Sometimes the youth argots
reach wide ranges of the population. Sometimes they are initiating languages for smaller groups
that later on spread. In all cases the group argot reflects the focal experiences of the group29
b) Music. The emergence of youth cultures is closely related to the birth of rock and roll, the first
big generational music consumption and production of music have since been core elements in
most youth styles, as a means of self-definition and emblem to mark group identity. The
evolution of subcultures is often associated to musical tendencies: Elvis and the ted, The Who
and the mod, reggae music and the Rastafarian, folk music and psychedelic and the hippies,
the Sex Pistols and the punk, Public Enemy and rappers, Iron Maiden and the heavies, etc.
Although at some other times the identification between music and style is less obvious: as
stated above the first skinheads liked ska (black derived) before latterly identifying with oi music
(aggressive white-power stance) demonstrating how styles can undergo reinvention. It is
important to underline that most young people make a selective and creative use of the music
they hear on the radio, the hi-fi or at gigs or in practical formation of bands30
c) Aesthetics. Most styles have identified with a visible aesthetic element (hairstyle, clothes,
accessories, etc): the teds’ Edwardian clothing (originally used by Dandies during King
Edward’s time), the rockers’ quiff and jacket, the mods’ tailored suits, the skinhead’s shaven
heads and military boots, the hippies’ flowered dresses and long hair, the Rastafarian
dreadlock, the punks’ safety pins and Mohican hairstyles, etc. But appearances should not be
mistaken with the actors: uniforms are very rarely standardised, but rather a wide repertory used
by every individual and by every group in a creative way. What most styles do share is the will
to establish differences with adults and with other youth groups. Although accessories are often
found in the market, sometimes these are handcrafted by the young people themselves, or they
are purchased in alternative commercial circuits produced by the subcultures (drugstores and
hippy markets, or the tianguis of the Mexican chavos banda, etc). Although only a few young
people adopt the complete uniform of a style, many of them use some elements and attribute
them a specific significance. Some subcultural styles are a source of inspiration for the group of
young people, making up fashion tendencies of a whole generation (as happened with a few
elements of the hippy or punk trend). But the universalisation of a style is doubtlessly a doubleedged sword because it is easily commercially appropriated and it loses all its rebellious
potential31
d) Cultural production. Styles are not just passive recipients of audiovisual media, they also
express themselves publicly through a series of cultural productions: magazines, fanzines,
graffiti, painting, tattoos, video productions free radio broadcast, cinema films, etc. This is
increasingly the case with the rise of new media. These productions have an internal function
(to reaffirm the group borders) and an external function (to promote the dialogue with other
social and youth instances). For this purpose they use the conventional channels (mass
communication media, market) or underground channels (underground magazines, free radio
broadcasts). One of their purposes is to reverse the negative view that is socially attached to
certain styles, transforming the stigma into an emblem: the group marks found by studying
different communication products constitute a resistance to disqualification.32
e) Focal activities. Subcultural identification is often materialised by participating in certain
rituals and focal activities associated with them: the mods’ passion about scooters, the
skinheads’ football matches or the hippies smoking marihuana. It is usually leisure activities.
Frequenting certain places (pubs, discos, bars or clubs) or following certain city routes can
determine the style borders. Sometimes, these focal activities become defining elements of
style itself: skaters, breakers, graffers, taggers, etc.33 In recent years, the new technology
(especially the internet) has become a core space where old and new focal activities are
expressed, as occurs with social networking experiences explained later in this report.
Today, the cultural construction of youth and the juvenile construction of culture are not
separate processes. Both dimensions are in a continual dialogue, illustrating the interactions
29
Hall (1977: 15); Rodríguez, (1989); Hernández, (1991).
Frith (1982); Bondi (1984); Aguilar et al. (1993).
Clarke (1983); Delaporte (1982); Willis (1990).
32
Reguillo (1991); Urteaga (1995)
33
Flores (1986); Hall and Jefferson (1983).
30
31
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between youth and surrounding society. Actually, the cultural sector is one of the few social
spaces where young people are not in a subaltern position, but they participate actively in the
creation of new cultural movements. This will be reprised highlighted when we will make an
overview of the emergent youth culture trends.
1.4. Youth policies, cultural policies and access to culture
Youth policies in Europe are a complex mixture of supranational, national, regional and local
influences, strategies, instruments and programmes aiming at meeting the needs and
expectations of young people. A broader concept of “youth policies” includes also those policy
instruments and initiatives from other policy areas that affect young people in one way or
another, and are not necessarily targeted towards them. Throughout the last 20 years of
development and improvement of youth policies, there has been an attempt for a knowledgebased approach to policy-making, considering the changing realities and permanently
fluctuating circumstances of younger generations in Europe.
“The purpose of youth policy is to create conditions for learning, opportunity and experience which
ensure and enable young people to develop the knowledge, skills and competences to be actors of
democracy and to integrate into society, in particular playing active part in both civil society and the
labour market. The key measures of youth policies are to promote citizenship learning and the
integrated policy approach.”34
Youth policies have always been characterised by a high degree of complexity. This is not only
because of the different levels of players involved in the policy-making and implementation
process, but also because of the diverse aspects that need to be taken into account, such as:
education, culture, employment and work, social cohesion and inclusion, social conditions
(housing, criminality, health, etc.). Each of them requires specific actions and youth policies
basically coexist with more general matters involving the whole population.
Institutionalisation of culture is marked with heterogeneity – diverse players undertake actions:
cultural institutions, cultural networks, professional organisations, non-governmental
organisations, foundations, etc.). There is often a lack of communication between the three
sectors (public, private and the civil society) bringing more challenges and obstacles, as regards
access of youth and youth participation.
Another dimension of complexity was already mentioned above, and it concerns the way that
different countries define “young people” and the difficulty to come up with a strict definition.
Cultural policies in Europe generally aim at serving certain democratic objectives and reflect
value systems such as accessibility, awareness-raising, citizen education and equal access to
all cultural goods, services and institutions.
“Access and participation are essential policy-issues in democratic settings and
Participation in cultural life is a fundamental policy-issue in democratic settings and in
public administration the authorities are faced with the challenge to design policies that
take into account the citizen and their needs. Legal instruments are important but they
are not policies nor immediate solutions but framework for action and policies. It’s at the
policy level that the real test begins on how to assure participation and access to cultural
life.35”
In most of the Member States the administration related to access to culture is either a duty of
the Ministry of Culture or the Ministry of Education.36 In some of the countries, decentralisation
34
Siurala, Lasse (2005). A European Framework for Youth Policy. Directorate of Youth and Sport, Council of Europe
Publishing
Laaksonen(2006).
36
Concrete examples and policy priorities on national level are outlined in Chapter 3.4.
35
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of cultural administration and federal state administration has also given decision powers to
regional governments. Children and education usually rank high in the lists of policy principles
but in case of youth it is not always the case. The Member States design quite independently
their youth (culture) policies and may not connect their youth policy principles with those of the
European institutions.
Before 2001, the activities of the European Institutions in the field of policies for young people
mainly focused on the design and implementation of specific programmes, such as the ‘Youth
for Europe’ Programme, launched in 1988. However, there was a clear consensus that this
action and cooperation needed to be further consolidated and that young people themselves
needed to be more involved.
In 1998, the European Commission and the Council of Europe set up a Partnership in the field
of youth37. The Partnership first focused on the training of youth workers and was then extended
to two further strands, research and regional cooperation with a focus on Euro-Med. The
Partnership provides an added value to the two institutions' policies and programmes, targeting
and involving young people in Europe and beyond.
The White Paper on Youth, published by the European Commission in 200138 represents the
first step in setting up a coherent youth policy framework in the European Union. It claims that
investing in young people will be one of the keys to success in achieving the objectives of the
Lisbon European Council. The same statement has been endorsed in the European Youth Pact
adopted in March 2005 as one of the instruments for promoting growth and jobs within the
revised Lisbon Strategy. The Pact has three strands39:

Employment and social integration
Education, training and mobility
Reconciling work and family life
Several initiatives, such as the European Commission's “Youth in Action programme” and the
European Youth portal40, the European Knowledge Centre for Youth Policy (a tool of the
Partnership between the European Commission and the Council of Europe in the field of Youth
as mentioned above), are direct results of this on-going process to foster the involvement of
young people.
In the Communication Promoting young people’s full participation in education, employment and
society, adopted by the Commission in September 200741, a new impulse is given to
educational, employment and inclusion policies with the prospect of improving the
implementation of the European Youth Pact. Access to culture is recognised in this document
as an essential element in achieving an active participation of young people in the society.
One of the goals of this framework process led by the European Union is addressed to the
Member States and calls for the implementation of strategies aimed at fostering the participation
of young people in public and cultural life and enhancing the cooperation in the field of youth
policies among different levels: the European, the national and the local ones.
Facing the challenges of the new millennium, such as globalisation, the demographic trends, a
changing youth culture, participation in society and the European integration, the framework
identifies several issues for further elaboration:
37
http://youth-partnership.coe.int/youth-partnership/ Last consulted on 15 June 2010
Commission of the European Communities (2001), A new impetus for European Youth, Brussels.
Chapter 3.3. provides a chronological and analytical view on the past and present youth policies, programmes and
funds, and how they reflect access to culture and cultural participation.
40
http://europa.eu/youth/
41
Communication from the Commission to the European Parliament, the Council, the European economic and social
committee and the Committee of the Regions promoting young people’s full participation in education, employment and
society [ COM (2007) 498]
38
39
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¾
¾
¾
¾
¾
¾
To enhance the participation of young people in decision-making processes,
ensuring their consultation in all the decisions concerning them, stimulate their entry
into social life and sustaining an active citizenship;
To ensure access to education and education opportunities as a way to express
identities and values; this meaning the creation of available spaces (both physical
and expressive) for free creativity and socializing,
To sustain employment and young entrepreneurship and give formal and informal
education to help develop autonomy among young people;
To enhance social inclusion in the knowledge market by ensuring an active
information formulated in the language of young people;
To promote mobility of young people in their own country and in Europe;
To promote the access of young people to culture as actors or users; access to
culture increases the opportunities for integration and success for their full
participation in society.
The European Union has a unique role to play in promoting and bringing out the richness and
diversity of the European culture. Many responses to this challenge could come from young
people, if they were given a chance to be heard and express themselves.
As largely accepted, culture can be a vector of cohesion and integration, facilitating social
inclusion and dialogue between generations.
“Participation in cultural activities, together with access, forms the backbone of cultural rights
but understanding access and participation in a large way permits us to include other aspects
such as access to information and freedom of opinion and expression; right to education; selfdetermination; freedom of expression; cooperation or aspect of cultural diversity and minority
rights that all form an important part of the [cultural] life of a society42”.
On 22 May 2008 the Council of Ministers of the European Union adopted a resolution on the
participation of young people with fewer opportunities. This resolution includes cultural
exclusion as one of the obstacles to participation.
In a study carried out by the Centre for Public Policy at North Umbria University for the
European Commission in 2005 on cultural policies and social exclusion43 young people,
especially the young unemployed, are perceived to be one of the three groups at risk of cultural
exclusion (the others being, refugees and immigrants, and disabled people). In their findings,
access to cultural activities can be very important in promoting greater social inclusion by:
¾
¾
¾
¾
building skills: participation of young people in drama and theatre workshops can
enhance their confidence and develop team-working and interpersonal skills and other
generic transferable skills. They can encourage young people disaffected by formal
education and training to seek employment or additional training in the performing arts
sector.
enhancing self-esteem and identity: projects promoting involvement in cultural
activities can lead to greater self-confidence and higher self-esteem, lead to increased
participation in society and in the labour market and the consolidation of a positive
sense of identity for many groups at risk of exclusion such as disadvantaged young
people, disabled people and minority ethnic groups.
overcoming discrimination and tensions resulting from cultural differences: the
integration of immigrants can be promoted through language classes or the use of
drama or dance in schools to celebrate different cultures.
creating employment opportunities: fostering arts education in formal and in informal
education, it can encourage employment in the creative industries.
42
Laaksonen (2010), Making culture accessible, Council of Europe publications.
See Centre for Public Policy, Northumbria University (2005), Report of a thematic study using transnational
comparisons to analyse and identify cultural policies and programmes that contribute to preventing and reducing poverty
and social exclusion, Newcastle upon Tyne. The study analyses and identifies cultural policies and programmes that
contribute to preventing and reducing poverty and social exclusion in eight Member States (Denmark, Finland, France,
Germany, Italy, Spain, Sweden and the United Kingdom)
43
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¾
¾
increasing access to information and services
promoting social integration
The potential of culture in achieving such results is increasingly recognised by policy-makers.
Member States are promoting many cultural activities contributing to extend the access to
culture for young people. It appears that cultural and youth strategies are attaining a higher and
higher degree of convergence and cooperation.
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1.5. Access of youth to the cultural sector
The chief of arts and culture of the cabinet of the Mayor of London, Munira Mirza, argues that
too much emphasis has been placed on making events "user-friendly". She said:
"Too often, it is presumed that young people will only like art that they can immediately
relate to. Working-class students may be steered towards popular culture like hip-hop,
new media and film on the basis that they will find older art forms such as opera or ballet
irrelevant. (…)There's been a kind of inverse snobbery about culture. I get the feeling
some people would look at Shakespeare and say, that's a bit too intimidating for workingclass people. (…)If we achieve anything, I would like to help all people think that it is for
them, or that the National Gallery, for example, is for them, that it belongs to you.44"
Children and young people need attention, guidance and opportunities to live meaningful
experiences and have healthy emotional experiences that culture can give them. The cultural
sector has always been quite sensitive to their needs.
The overall understanding and concrete policy measures related to access of young people to
culture, taken by cultural policies actors at all levels, contributes to the complex picture.
Cultural policy documents and programmes as regards “access of young people to culture”
comprise the following main aspects45:
¾ Young people as users, buyers, consumers, audiences. This is mainly related
to cultural participation, aiming at facilitating access of young people to certain
cultural organisations having high quality programming, and certain added
value, which are less attended by young people. These are: museums, national
and regional galleries, operas and drama theatre performances, symphonic
orchestra concerts, libraries, etc. A commonly used policy measure is offering
subsidized prices, seasonal tickets, decreased subscription schemes, or free
access for young people. The responsibility for attracting young people as
regular users is in the hands of policy-makers but should be also in the focus of
attention of marketing and public relations specialists and departments in
cultural organisations, attempting at attracting young people as an especially
targeted market segment.
¾ Young people as active participants and creators of arts. This aspect is very
tightly connected with educational policies at all levels – from the primary and
secondary school to higher education, life-long learning and vocational training.
There is a need for a better cooperation between players and programmes
related both to cultural and educational policies and instruments in regard to
arts education. Policies related to culture and arts as part of leisure time of
young people include motivation of young people to be involved in amateur art
forms, community art, art related to social change.
Access of young people to culture is understood by cultural policy makers mainly as the need to
implement policy instruments to increase the access primarily to classical and traditional forms
of art and culture, such as cultural heritage sites, visual arts (museums and galleries),
performing arts (theatres, opera halls, etc.), libraries, cultural and community centres, as well as
all other forms of cultural supply, offered primarily by the subsidised cultural organisations,
benefiting by state funding. Access to contemporary “fringe” forms of art and artistic
experiments, institutionally represented mainly by non-profit organisations, as well as access to
media-related art forms and entertainment (leisure) industry branches having artistic/cultural
elements, are less or not at all considered by cultural policy documents and programmes.
44
Mark Brown “Give young people high culture not hip-hop”, Guardian.co.uk, 24 November 2008
Chapter 3.3 and 3.4. provide a closer analysis of cultural policy objectives and actions related to access of young
people to culture.
45
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In official cultural policy documents at supra-national, national and sub-national levels in
Europe, “youth access to culture” is closely connected with the following policy priorities46:
•
•
•
•
•
•
•
•
•
Increasing access to heritage sites, museums and other cultural institutions,
especially for young people and vulnerable groups of the population.
Employment in the cultural sector – including facilitating better jobs for young
people in the cultural sector (public, private and non-profit).
Implementation of new technologies in the cultural sector and connecting related
activities with the leisure time of young people. Contemporary ways to seek, digest
and disseminate information and knowledge as regards cultural experiences - both
as consumers and active participants.
Artistic mobility and cultural cooperation across borders – increasing the access of
young people to cultural experiences and cultural organisations abroad.
Cultural consumption and participation.
Arts and formal cultural education – including all programs and connecting arts and
artists with school curricular from primary levels to university in order to help young
people to be actively involved as participants, and not only as consumers and art
users.
Amateur arts in cultural and community centres and clubs – connected mainly with
regionalisation policies, access of young people to arts and culture in isolated areas
and peripheral zones.
Preservation of culture and language of minority groups and intergenerational
transmission of customs, traditions, art forms and language
Intercultural dialogue and social cohesion.
Access to culture and participation in cultural and public life is an issue, important not only for
youth policies, but also for cultural policies and educational policies. It is an issue requiring an
ongoing cooperation, synchronisation and joined efforts between players and programmes in
these three areas.
1.6. Previous and existing studies
In Europe the main institution that provides data on youth is Eurostat47, the statistical office of
the European Union that offers general figures on youth issues and on participation. There are
efforts currently being made to increase the scope and quality of youth-related statistics.
Through the European statistical system, Eurostat co-operates with the Member States to build
up comparable and reliable statistics. The first culture-related survey was carried out in 2001
(covering EU-15) and next on cultural components in 2003 when it was extended to 13
candidate countries.
In 2001 the Eurobarometer48 survey on Europeans’ participation in cultural activities
(Eurobarometer 2002) described in general terms the participation activities in the Member
States. The results of this study reveal, not surprisingly, that a big part of cultural participation is
carried out through watching television, and that library and cinema are usually the most
frequent places for cultural attendance. In 2001 half of the Europeans did not use a computer
and less than one of every ten people that responded to the survey found no obstacles
toparticipation in cultural life. The study does not separate young people as a special target
group but underlines that 82% of Europeans consider access to culture as a positive element
that can favour participation. This was the first Eurobarometer survey to measure and compare
cultural participation. The Eurobarometer “New Europeans and Culture” from 2003 covered the
46
Information obtained from desk research and national reports.
EUROSTAT website : http://epp.eurostat.ec.europa.eu/portal/page/portal/about_eurostat/corporate/introduction
Eurobarometer is a Commission service, measuring and analysing trends in public opinion in all the Member states
and in the candidate countries. Knowing what the general public thinks is important in helping the European
Commission draft its legislative proposals, take decisions and evaluate its work.
47
48
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key cultural elements of the 13 candidate countries concluding that most of the future
Europeans thought that the key competences related to culture should be dealt at national level.
The Eurobarometer survey “Young Europeans” from 2007 contains valuable knowledge on the
opinions and concern of young Europeans and serves as example of the generated
understanding and knowledge of young people. As regards cultural or leisure activities, the
study shows that most of the young Europeans prefer physical exercise (45% - walks, bike
rides, sports) and spending time with peers (40% - eating, dancing, having a drink, hanging
out). Some stereotypes are also enforced, such as women read more than men. It shows that
European youth does not participate actively in associations or voluntary activities, and that
young people like to read books (21%), watch television (19%), listen to music (17%) and go to
the cinema, theatre or a concert (16%). When the same question is surveyed at national level,
the numbers tend to be a bit different. In addition, the 2007 Eurostat Pocketbook on Cultural
statistics presents some interesting tables on education and participation49. The statistics of the
pocketbook rely on the pragmatic definition of culture generally agreed upon during the earlier
work by the European Leadership Group (LEG).
As regards European studies and analyses, the European Commission ordered in 2004-05 a
study entitled “Analysis of the programmes and initiatives linking culture with education, training
and youth in Member States, candidate countries and EEA countries”50. The objective of this
study was to “link formal, non-formal and informal education, vocational training and young
people with culture in its various forms of expression (visual arts, music, performing arts, books,
reading, cultural heritage). The study identified more than 350 initiatives and programmes that
were analysed through eight key descriptors that ran from the project’s domain to the target
group and other particularities. The conclusions come up with 5 major themes and 5 types of
actions51:
The conclusions of the study state that
“these proposals do not pretend to cover the total field of a certain number of domains.
Nevertheless, within the framework of the proposed set of themes, it is always possible to focus
in particular on projects dealing with specific problems such as the development of greater
interaction between culture and youth or the non-formal, informal educational sectors, the
contribution of foreign culture to cultural and educational policies implemented by EU Member
States, initial (or continuing) education of teachers in order to promote cooperation between
education and culture as a means of ensuring equal opportunities for young people in the
educational system, making culture accessible to the most disadvantaged and poorest groups,
forging a link between sports and culture, between culture / education and entrepreneurship,
between culture – education and vocational training, and in particular apprenticeships.”
As for statistics and comparative studies regarding the Member States, the first problem that we
face when comparing data on access and participation in different countries is the divergence in
the ways that the cultural field, access or participation are defined. Most European countries do
carry out surveys on art/culture attendance and on cultural participation, and these surveys do
share some similar operative models. However, at the all-European level we can observe a lack
of harmonised framework for cultural statistics. At the same time there are a great number of
studies on youth cultures, youth participation in the society and even on the cultural preferences
of young people, but this data is difficult to compare.
Apart from the Eurobarometer there are no European-level studies on the access/participation
of young people in cultural life. Most of the Member States do carry out statistics and/or surveys
49
Access is not among the main elements of the survey but other interesting figures are displayed. See more in Annex
III.2.
50
Call for Tender 2008/01 “Study on access of young people to culture”
51
Themes: Making school more appealing (using culture as a means of renovation education projects), Vocational
training for cultural mediators and players, Transmission of know-how, intergenerational and intercultural vocational
training, Culture and science, Promotion of artistic professions and cultural professions
Actions: The need to support small projects (local initiatives or micro projects) – an alternative to transnationalism?;
Toward new mobility initiatives (cultural volunteer work, open to all, but in particular to senior citizens); Everlasting
partnerships: pilot projects; The need to support the creation of active and strong networks; The importance on
valorisation
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on cultural participation at national level. In most cases these studies describe the variety of
cultural institutions and activities in each country, the attendance of people in cultural activities
and institutions, and (public) cultural expenditure. These studies tend to focus more on different
forms of participation rather than the structures that favour access. Therefore, we have found
very few national surveys on the access to culture. Few exceptions are the Accessibility of
culture in the regions: interrogatory and expert interviews commissioned in Latvia in 2007 by the
Ministry of Culture and carried out by the Baltic Institute of Social Sciences and a survey
conducted in 2006 in France by TNS Sofres. In the latter survey the population was not divided
into age groups but the sample reflected a general feeling in a country where access to culture
is considered to be a right.
Even if studies on the participation of young people in culture and their cultural needs do exist52
the cultural participation (and access) of young people does not seem to be a priority issue, and
there are elements that are not analysed in a systematic way, which may lead to the fact that
there is an entire sector of juvenile culture that remains unexplored. Based on an analysis of
cultural statistics and surveys from different countries, and despite the fact that in many cases
young people are sampled as a separate age group, there are also studies that show no
accentuated differences between young people and other age groups in their cultural/art
participation references. The obstacles for participation in culture have not been surveyed in
great detail but most of the surveys associate the lack of money, transport, interest or a
geographic imbalance or class division with the difficulties to access culture. The surveys seem
to agree that the family environment is a fundamental element in encouraging participation.
In 2008 the Eurocities53 Working Group on Young People and culture produced a study on
successful policy models, strategies, instruments and tools that foster inclusion of young people
through culture in European cities. The result is an impressive set of good practices from ten
countries (some of which are included in the list of best practices of this study) that highlight the
connection between arts, culture, education and the labour market. The examples presented in
the study are organised according to different classifications (nature, type, etc.) and analyse the
access of young people to the planning or organisational phases of different initiatives. The
examples include actions from “young people gave the topics which interested them” (European
Youth Capital – Rotterdam) to “young artists cooperate to some extent in the jury;
accompanying to the project” (Jugenskunstbiennale – Chemnitz). The study has great value as
it gives visibility to several local projects and shows the importance access to cultural activities
for integration and involvement of young people in local activities.
52
53
See bibliography and Annex III.
The EUROCITIES Organisation is a major European network with more than 130 city members in over 30 countries.
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2. LEGAL FRAMEWORK ON ACCESS OF YOUNG
PEOPLE TO CULTURE AT NATIONAL AND
TRANSNATIONAL LEVEL
Within this study, access is understood as a fundamental right of young people to participate in
the society as members of full rights and responsibilities. In many contexts, access to culture /
cultural life is considered to be a right even if its legal provisions seem to be scarce. Public
policies are strongly linked to regulatory measures, be they laws or other normative instruments.
In classical democratic thinking, legal provisions form the basis for policy-making and a big part
of parliamentary work is dedicated to law-making or resource allocation. As regards a ‘right’, a
legal provision brings along an obligation, usually of the state or other administration to
promote, provide and fulfil the right. For the public policies to be successful regulations or
legislations are not necessary but they do form a certain kind of safety net for actions.
Governments issue regulations and they are required to implement them.
In this chapter we list existing international and European instruments that make a reference to
the access (of young people) to culture and then observe the respective legal provisions that
exist in different Member States such as constitutional provisions and specific legislation. The
tables corresponding to this sector on the ratification of international instruments are included in
the Annex II.
2.1. International and European agreements and processes
Access to cultural life is about proving opportunities, options, resources, spaces for creation and
funding. However, access to cultural life has almost no direct international legal provisions but is
included in the right to participate in cultural life. The two rights, however, have a different
nature and even if interconnected, they need separate legal provisions.
2.1.1. United Nations
On 20 November 2009, the Committee on Economic, Social and Cultural Rights of the United
Nations Economic and Social Committee adopted in its forty-third session adapted a General
Comment no. 21 on the Right of Everyone to Participate in Cultural Life.54 The General
Comment represents an enlargement of the Article 15.1.a. of the International Covenant on
Economic, Social and Cultural Rights mentioned above. The General Comment states:
There are, among others, three interrelated main components of the right to participate or take part
in cultural life: (a) participation in, (b) access to, and (c) contribution to cultural life.
As related the definition of ‘access’, the General Comment states:
”Access covers in particular, the right of everyone - alone, in association with others or as a
community - to know and understand his or her own culture and that of others through education
and information, and to receive quality education and training with due regard for cultural identity.
Everyone also has the right to learn about forms of expression and dissemination through any
technical medium of information or communication, to follow a way of life associated with the use of
cultural goods and resources such as land, water, biodiversity, language or specific institutions, and
to benefit from the cultural heritage and the creation of other individuals and communities.”
54
The General Comment is included in Annex VI
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The United Nations Framework does not include a specific instrument related to the access of
people to cultural life but several instruments on the participation in cultural life. Even though the
General Comment No. 21 does not include young people as a specific target group, a special
attention is given to minorities, immigrants and indigenous people.
The right to participate in cultural life is included in the Article 27 of the Universal Declaration
of Human Rights: “Everyone has the right to freely participate in the cultural life of the
community, to enjoy the arts and to share in scientific advancement and its benefits” (27.1.).
The right to participate in cultural life is also included in the legally binding International
Covenant on Economic, Social and Cultural Rights (United Nations, 1966) in Article 15.1.a.
It is also mentioned in the Article 27 of the International Covenant on Civil and Political Rights
(United Nations, 1966): “in those States in which ethnic, religious or linguistic minorities exist,
persons belonging to such minorities shall not be denied the right, in community with the other
members of their group, to enjoy their own culture, to profess and practice their own religion, or
to use their own language.”
The 1970 UNESCO Recommendation on Participation by the People at Large in Cultural
Life and Their Contribution to it acknowledges that:
” Access to culture and participation in cultural life are two complementary aspects of the same
thing, as is evident from the way in which one affects the other-access may promote participation
in cultural life and participation may broaden access to culture by endowing it with its true
meaning-and that without participation, mere access to culture necessarily falls short of the
objectives of cultural development” and that “access and participation, which should provide
everyone with the opportunity not only to receive benefits but also to express himself in all the
circumstances of social life, imply the greatest liberty and tolerance in the fields of cultural
training and the creation and dissemination of culture.”
According to the Recommendation as stated above, access to culture means
(a) concrete opportunities available to everyone, in particular through the creation of the
appropriate socio-economic conditions, for freely obtaining information, training, knowledge and
understanding, and for enjoying cultural values and cultural property.
In relation to the youth access to culture, the Recommendation states in its Article 16 on Youth:
16. Member States or the appropriate authorities should offer young people a wide range of
cultural activities which correspond to their needs and aspirations, encourage them to acquire a
sense of social responsibility, awaken their interest in the cultural heritage of their own country
and in that of all mankind and, with a view to cultural co-operation in a spirit of friendship,
international understanding and peace, promote the ideals of humanism and respect for widely
recognized educational and moral principles.
As an example of a non-binding but useful exercise in grouping cultural rights under one
international instrument, in 2007 the Observatory of Diversity and Cultural Rights (placed at the
Interdisciplinary Institute of Ethics and Human Rights at the Fribourg University) adopted jointly
with the Organisation Internationale de la Francophonie and UNESCO a Declaration on
Cultural Rights. This declaration gathers in its articles the main cultural rights mentioned in
international instruments. The Article 5 (out of 12 articles) makes a reference to the access to
cultural life
Article 5 (access to and participation in cultural life)
Everyone, alone or in community with others, has the right to access and participate freely in
cultural life through the activities of one’s choice, regardless of frontiers. This right includes in
particular;
The freedom to express oneself, in public or in private in the language(s) of one’s choice
The freedom to exercise, in conformity with the rights recognised in the present Declaration,
one’s own cultural practices and to follow a way of life associated with the promotion of one’s
cultural resources, notably in the area of the use of and in the production of goods and services;
The freedom to develop and share knowledge and cultural expressions, to conduct research and
to participate in different forms of creation as well as to benefit from these;
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As regards youth access to culture the main international instrument is the Convention on the
Rights of the Child (United Nations, 1989) that contains references to this right in Articles 20, 29
and especially 30 and 31
Article 30
In those States in which ethnic, religious or linguistic minorities or persons of indigenous origin exist,
a child belonging to such a minority or who is indigenous shall not be denied the right, in community
with other members of his or her group, to enjoy his or her own culture, to profess and practise his
or her own religion, or to use his or her own language.
Article 31
1. States Parties recognize the right of the child to rest and leisure, to engage in play and
recreational activities appropriate to the age of the child and to participate freely in cultural life and
the arts.
2. States Parties shall respect and promote the right of the child to participate fully in cultural and
artistic life and shall encourage the provision of appropriate and equal opportunities for cultural,
artistic, recreational and leisure activity.
In addition, The Convention on the Rights of Persons with Disabilities (United Nations, 2006)
contains this right in Article 30:
1. States Parties recognize the right of persons with disabilities to take part on an equal basis with
others in cultural life, and shall take all appropriate measures to ensure that persons with
disabilities:
(a) Enjoy access to cultural materials in accessible formats;
(b) Enjoy access to television programmes, films, theatre and other cultural activities, in accessible
formats;
(c) Enjoy access to places for cultural performances or services, such as theatres, museums,
cinemas, libraries and tourism services, and, as far as possible, enjoy access to monuments and
sites of national cultural importance.
The UNESCO Convention on the protection and promotion of the diversity of cultural
expressions (UNESCO, 2005) has within its article 7 on the measures to promote cultural
expressions a reference to access to cultural diversity
Article 7 Measures to promote cultural expressions
1. Parties shall endeavour to create in their territory an environment which encourages individuals
and social groups:
(a)
to create, produce, disseminate, distribute and have access to their own cultural
expressions, paying due attention to the special circumstances and needs of women as well as
social groups, including persons belonging to minorities and indigenous peoples;
(b)
to have access to diverse cultural expressions from within their territory as well as from
other countries of the world
2. parties shall also endeavour to recognize the important contribution of artists, others involved in
the creative process, cultural communities, and organisations that support their work, and their
central role in nurturing the diversity of cultural expressions.
The guiding principles of the Convention, thus, include a principle of equitable access to cultural
diversity, diverse cultural expressions and dissemination as they enhance and encourage
cultural diversity and mutual understanding. Abiding by the principle of equal dignity of all
cultures, including minority and indigenous cultures, the Convention advocates equitable access
to a rich and diverse range of cultural content.
The UNESCO Convention was approved by the Council on behalf of the Community by means
of Decision 2006/515/EC (18/5/2006). The Council decision is based on the procedural legal
basis of Article 300(2) and (3) EC. According to paragraph 7 of Article 300 EC, agreements
concluded under the conditions set out in Article 300 EC 'shall be binding on the institutions of
the Community and on the Member States'. The UNESCO Convention is thus binding on the
Community, and forms part of the EC legal order.
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2.1.2. Council of Europe
As regards the instruments designed within the framework of the Council of Europe, access to
culture is not mentioned in the European Convention on Human Rights (1950). The European
Cultural Convention (1959) mentions in its Article 5:
Each Contracting Party shall regard the objects of European cultural value placed under its control
as integral parts of the common cultural heritage of Europe, shall take appropriate measures to
safeguard them and shall ensure reasonable access thereto.
2.1.3. European Union
As regards the EU treaties little can be found on access of young people to culture. The cultural
aspects first became an active concern of the European Community as a direct consequence of
the Treaty of European Union of 1992 (the Maastricht Treaty). Article 167 (ex-article 151 TEC)
of the Treaty on the Functioning of the European Union mentions that, "the Union shall
contribute to the flowering of the cultures of the Member States, while respecting their national
and regional diversity and at the same time bringing the common cultural heritage to the fore".
As regards young people, Article 165 (ex-article 149 TEC) states that the Union action will also
be directed at “encouraging the development of youth exchanges and of exchanges of socioeducational instructors, and encouraging the participation of young people in democratic life in
Europe”. The last part of this sentence has been added by the Lisbon Treaty (2009). In addition,
the Charter of the Fundamental Rights of the European Union (2000) has two articles on culture
but access to culture is not mentioned.
2.2. National legislations
In Europe, the legal instruments that refer to access to culture can mainly be found in
constitutional frameworks. The Member States have adopted the Human Rights framework as a
basis of equal treatment, non-discrimination and fundamental freedoms that all are essential
elements of providing the adequate conditions for accessing cultural life. In this section we will
analyse the constitutional provisions of the Member States as well as any possible existing
specific legislations.
2.2.1. Constitutional provisions
Constitution refers to a set of rules that define the nature and extent of government. Basically a
constitution defines the functions of a government, its fundamental political principles and
regulates the structure, procedures, powers and duties of the executive authorities.
Constitutions also provide the citizen with rights in order to guarantee equal treatment and nondiscrimination. Quite famously there has not been a lot of room for culture in the older
constitutions and it is quite recently that cultural notions have been included. The same way
constitutions tend not to mention young people as target groups but include them when referring
to all citizens. Legal elements related to access and participation in cultural life in the European
Constitutional frameworks are described in more detail in Tables 1 and 2 of Annex II. However,
it is important to underline that the information in this sub-chapter is not easily comparable due
to the differences in the legal frameworks of the countries.
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2.2.2. Separate laws on access to culture of young people, youth policies or cultural/educative activities of young
people
Most of the Member States do not have specific legal provisions on access to culture of young people – in fact some of the national reports prepared for this
study underline that legislation in general seems to be focused on so called high culture more than youth culture.
The information in the following table is obtained directly from the national reports. Our objective with the table is to show whether the Member States have
specific laws, regulations or other legal provisions on access of young people to culture, youth policies or cultural/educative activities of young people.55
55
Access to culture is at times absent from the regulations that should cover it most. For example the Finnish national report used for this study states that “Quite surprisingly, the access of young
people to culture is not mentioned in the following acts: Library Act (1998), Municipal Cultural Activities Act (1992), Museum Act (1992) and Theatres and Orchestras Act (1992). All art institutions
receiving statutory aid are, however, expected to organise arts education activities. These activities can be aimed at children, young people or adults.”
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Specific legislation on the access of young people to culture in the Member States
Austria
On culture:
National level:
The Arts Support Act (1981) states that in addition to the monthly radio and television fees, an appropriate contribution of euro 0.48 per month should be dedicated to the
support of contemporary arts. This contribution is raised and distributed between the state and the provinces in ratio of 70:30. Out of the 70% state share, 85% go to the
Arts Department of the Federal Ministry for Education, Arts and Culture, most of which is spent on arts education of young people; the rest is allocated to matters related to
heritage protection and museums.
Basic Law on Civil Rights, Paragraph 17a (1982) that guarantees freedom for the arts.
Provincial level:
Every province in Austria, except for Vienna, has a Cultural Promotion Act, all of which exist since around 1980. These Cultural Promotion Acts manage cultural issues on
provincial level.
On youth:
National level:
Federal Law on the Representation of Youth – which regulates the representation of young people in Austria in front of the policy makers at national level. This is
guaranteed by the existence of a representing organisation (BJV), which advises the government on youth matters.
Federal Law on Supportive Measures for the Youth – which regulates the support and promotion of out of school youth education, especially the promotion of the
development of the mental, spiritual, physiological, social, political and ethical competencies of children and young people. Under this law, youth organisations can apply
for funding of their projects when these are focused on the above-mentioned topics.
Federal Law on Youth Welfare regulates child-care, mothering protection and related issues.
Federal Law on the Change of the Rights to Vote guarantees the right for young people at 16 years of age to vote on local, regional, national and European level elections.
Provincial and local:
Laws on youth concerning youth protection, youth promotion, representation of the concerns of the youth and the rights of youth with small differences between the content
exist in all nine provinces of Austria.
Regional laws on youth welfare also exist in the nine provinces. They refer to the management on different levels – national, districts and municipalities – of issues on child
and youth care, adoption, fostering and stationary care.
Regional laws regulate also the representation of rights and interests of children and youth through the ombudsperson.
As regards the young people as creators in Austria since 2000, the social security insurance for artists has been improved as regulation, which makes the cultural field a
more attractive occupation for young people as well. Also, a law on arts education from 1998 gives a Grant Status to the Six Art Colleges (Graz, Linz, Salzburg and three in
Vienna for programmes in music, design, drama, painting or culture.
56
Information obtained from the national reports.
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Belgium
The linguistic communities do not have ‘laws’ but ‘decrees’. The following decrees are important as regards young people and the access to culture.
Flanders:
Decree concerning the Flemish Youth- and Children’s’ Rights Policy 18.07.2008 (Decreet houdende het voeren van een Vlaams jeugd- en kinderrechtenbeleid).
Order of the Flemish Government concerning the subsidising of youth cultural and international initiatives for youth e.g. limits the range to 14 to 25 (Besluit van de Vlaamse
Regering houdende de subsidiëring van jeugdculturele en internationale initiatieven voor de jeugd, 14.10.2005).
Arts Decree, 02 April 2004 (‘Kunstendecreet’) that provides arts education organizations a legal and financial framework
Participation Decree (2008, ‘Participatiedecreet’ in Dutch) - does not include youth in the principal target groups
Decree on Cultural Heritage (2008, ‘Cultureel Erfgoeddecreet’ in Dutch)
Wallonia:
•
Decree Culture – School, (Décret relatif à la mise en oeuvre, la promotion et le reinforcement des Collaborations entre la Culture et l'Enseignement. 24.03.2006),
Ministry of Culture
•
Decree on Youth Organisations (2009), Ministry of Youth
•
Royal Order of 28 August 1977 to Create the Council of Youth of French Expression;
•
Decree of 20 June 1980 Governing the Recognition of and the Granting of Subsidies to Youth Organisations;
The German-community :
23.03.1992 - Decree on the Award of Grants for the Costs of Staff for Recognised Museums, Creative Workshops, Regional Organisations for Continuing and Adult
Education and Youth Organisations, Youth Centres and Youth Services; and
14.12.1998 - Decree on the Recognition of and Award of Grants to Youth Organisations, Youth Centres and Youth Services.
Bulgaria
Laws related to young people and their cultural/educational activities:
•
There is a Draft Law on Youth Development (SAYS, 2008), which provides for culture and cultural activities for youth in Art. 3 (general rights), Art. 8 (administrative
support) and Art. 19 (guarantee for services).
•
The Law for Physical Education and Sports (1996) is one of the basic laws under which the youth policy of SAYS is constructed and carried.
•
Education Act and the Law on Protection and Development of Culture arrange for the schools of art and culture and their curriculum and textbook content.
Youth policies:
•
The Youth Policy is determined through strategies elaborated by SAYS (2003-2007; 2008-2013 still not officially published) approved by the Council of Ministers,
Bulgaria
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Cyprus
No specific laws on access of young people to culture
The Czech Republic
The first attempts to fully deal with youth issues by legal provisions started in the second half on the 1980s. Legal amendments concerning youth issues were prepared until
2006 when these attempts failed for good; the amendments had various names (Youth Act, Act to work with children and youth; Act on supporting the child and youth work).
Nowadays this aim is not a priority. Acts that are currently valid and deal with youth are related to education.
Denmark
There are no laws specifically dealing with the access to culture of young people, youth policies or cultural/educative activities of young people. These issues are referred to in
the following laws:
The Act on the Folkeskole (Primary and Lower Secondary Education) of 2007 states that: “The Folkeskole shall in cooperation with the parents provide the pupils with
knowledge and skills that prepare them for continuing education, make the pupils keen on learning more, make them familiar with Danish culture and history, give the pupils an
understanding of other countries and cultures and contribute to their understanding of the correlation between man and nature, and finally, further each individual pupil’s manysided development.”
The role of local governments in providing cultural activities is defined in the Act on Youth and Adult Education. Activities of an approved adult association, hence activities for
children and young people up to the age of 25 are subsidized by the local government (Section 15). In addition to this, the local government has to make premises available for
the voluntary and educative work of the youth and adult associations. When offering these premises the local government must give priority to activities for children and young
people (Section 21, subsection 2). If the local government is not able to provide any premises for the voluntary association, then a subsidy of at least 65 per cent of the
operational expenditure is granted to either rented premises or premises owned by the association (cf. Section 25).
Young people are mentioned as a specific group in the Law on Music (regarding teaching children and young people at music schools); the Law on Film (rules for production
and promotion of films for children and young people) and the Law on Theatre (regarding child and youth theatres and their subsidy systems).
Estonia
No specific laws on access of young people to culture. The Estonia Child Protection Law from 1992 assures the right for education and teaching of respect for the Estonian
language and culture as well as for other languages and cultures.
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Finland
The new Youth Act was accepted in 2006. By young people, the legislation refers to those less than 29 years of age. According to this act, youth work refers not only to
supporting the active citizenship and social inclusion of young people, but also to supporting their growth and independence. The objective of the legislation is to create
favourable circumstances for leisure activities for young people. The aim is to promote young people's activeness within their own communities and the municipal decisionmaking when dealing with matters concerning the young.
The section 7 of the act states that the youth work and policy are included in the tasks of Finnish municipalities. One of the principal areas of youth work is cultural youth
activities. Also multicultural activities are mentioned.
Another important law on defining the access of young people to culture is the Act on Basic Education in the Arts (amended in 1998). Basic education in the arts is goaloriented, progressing from one level to other. It teaches children and young people skills in self-expression and capabilities needed for vocational, polytechnic and university
education in their chosen art form. Participation is voluntary and the education providers may charge moderate fees.
France
A law has been voted in July 1998 against exclusion and for the right to equal opportunities through culture and education. The law considers access to culture and sport as a
guaranty for the effectiveness of citizenship. In particular artistic, cultural and sport activities must be promoted in underprivileged urban districts out of the scholar schedule.
A more recent law “for equal opportunities” has been voted in 2006 (n° 2006-396). This law establishes different measures against discrimination and for employment,
education and access to public places. It is a direct consequence of the social problems that took place in the underprivileged urban districts during the autumn of 2005.
There is also a law voted in 1949 and modified in 1967 on publications for young people and children.
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Germany
The most explicit law governing youth access to culture is the Children and Youth Welfare Law, contained in the Social Welfare Act VIII (SGB VIII). §1 SGB VIII describes the
right of young people to education and development, specifically to capacitate young people to participate in social life. §11 SGB VIII explicitly anchors cultural education as an
element of out-of-school youth education (e.g. through youth art schools and music schools). The BMFSFJ (The Federal Ministry of Family, Senior Citizens, Women and Youth
Affairs) carries out its funding in the framework of the Children and Youth Plan on the basis of §83. §82 enshrines the support of public and independent entities of youth
welfare through the Länder. In the Länder, cultural education is generally regulated in youth support acts (Jugendförderungsgesetz). Most however have no direct statutory
regulations of the institutions responsible for extra-curricular cultural education, but support them by way of directives. Exceptions are Laws on Music Schools in Brandenburg,
Baden-Württemberg, Bavaria, Berlin, Bremen and Saxony-Anhalt; only the first two are more comprehensive. Baden-Württemberg also has a law on public libraries, which can
have a bearing on youth access. Saxony is exceptional in that § 2.I of its Cultural Area Law makes culture a mandatory task of the municipalities and counties. The Commission
of Inquiry on Culture recommends improving the legal regulations regarding cultural education as a “constitutive contribution to the safeguarding of cultural infrastructure”.
Cultural education is firmly enshrined, and media competence specifically mentioned. The Law on the Support of Youth Voluntary Services provides the legal framework for the
Voluntary Social Years (FSJ), including the FSJ Culture. The Children and Youth Plan, based on the Children and Youth Law, describes support programmes, objectives and
funding structures; it explicitly mentions media competence as particular objective. The National Integration Plan and the National Plan for a Germany Suitable for Children
touch on access of young people to culture and young people’s participation, but are not statutory instruments.
Greece
There are separate laws on youth policies and access of young people to culture, namely Law no.2557/1997 that deals with “Institutions, Measures and Actions for Cultural
Development” (Presidential Decree 271/1997). In this specific law, young creators (until 30 years old) are encouraged to participate in a competition entitled “State Award
Melina Mercouri” for a monetary prize for the best cultural production piece of the year (all forms of art can participate). The aim of this law is to encourage the participation of
young people in cultural production and creative businesses.
Law no.3525 (Presidential Decree 16/2007) deals with “Cultural Sponsorship and legislation” and sets the framework for sponsorship in Greece. Thus, the Greek state provides
support for young creators through public commissions and purchasing of works, subsidies for theatre and film productions, and subsidies for the creation of educational music
schools (Presidential Decree 1595/2004), literary and other prizes and cultural programming is largely supported by public funds.
In addition, according to its organisational framework (presidential Decree 191/2003), the Ministry of Culture is responsible to establish and fund policies in order to promote
cultural life (creativity and access).
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Hungary
The Constitution of Hungary and Act LXXVII of 1993 acknowledge youth national and ethnic minorities as state-forming communities enjoying protection and the right to nurture
their own language and culture.
Ireland
Although there is no Government legislation in Ireland relating specifically to youth and culture there is legislation relating to access to culture. The Arts Act 2003 is the most
recent legislation relating to access to culture and it is an important provision for participation in the arts. It states that it is the responsibility of the Department of Arts, Sport and
Tourism and the Arts Council ‘to promote the development and participation in the arts.’ Access and Participation of all citizens of the Irish State have been long standing goals
in strategy documents of both the Department and the Arts Council. The Arts Act 1973 and Arts Act 2003 provide a legal framework for local Authorities to ‘provide such
financial or other assistance as considered appropriate.’ This legislative support has led to a dramatic increase in arts and cultural provision from local authorities in the 1990’s
and 2000’s.
Also, the Education (Welfare) Act 2000 legally obliges schools to provide for a diversity of needs, values, beliefs, tradition, languages and ways of life in society, and safeguards
every child’s entitlement to remain at school until reaching the age of 16 or until completion of 3 years of post-primary education.
Italy
There are no specific legislations on the access of young people to culture.
Most of the competences on young people in Italy are in the hands of local entities and, as far as the legislation is concerned, particularly of the Regions.
In the last 10 years 13 Regions out of 20 have promulgated regional laws, accepting the indications and suggestions of the European Charter on the Participation of Young
People in Local and Regional Life and of many Recommendations of the Council of Europe.
One example of regional laws and interventions referring to young people and culture is the following one on Piemonte region:
Piedmont Region: Within the programming 2003-2005 of the Piemonte Region on the intervention in favour of the youth. Among the different areas of intervention, also the
cultural one is indicated: the law refers to initiatives aimed at fostering intercultural dialogue within the young generations, at supporting managerial activities in the cultural
sector, at promoting cultural events
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Latvia
There is a specific Youth Law. The purpose of the Youth Law is to improve the quality of life of young people – persons from 13 to 25 years of age – by promoting their
initiatives, participation in decision-making and social life, as well as by supporting youth work. The Youth Law determines the persons involved in the implementation of the
youth policy and the competence thereof in the field of youth policy, youth participation in the development and implementation of the youth policy, as well as the basic
principles for economic support for youth initiatives, participation in decision-making and social life and for youth work. In addition, the Youth Law defines that the state and
municipalities give support to the participation of young people in cultural life land also secure support for non-formal education as part of useful utilization of leisure time.
Lithuania
There are no special laws on the access of young people to culture. However, access to culture is addressed in the main legislation for youth and children.
The Law on the Basis of the Protection of the Rights of Child (14 March 1996) points out that the children who belong to ethnic minorities have the right to foster their language,
culture and traditions. A child has a right to education that develops his or her “general cultural sophistication.” Each child must have an opportunity to “learn to respect parents,
mentors, teachers, other people, their own native language and culture, other languages and cultures, nature”. The duty of a child is to “respect and treasure the values of the
culture and the history.”
The Law on the Basis of Youth Policy (4 December 2003) establishes the youth policies as important policies on both national and municipal levels. It also provides the ground
for regional youth policies. It declares that culture, together with leisure and creativity, are one of the 8 spheres in which youth policy should be implemented. The law
guarantees that every young person has a right to “educate and develop and realise oneself in full-fledged way and to choose the most acceptable form of participating in the
society”. The arts are not specified in this law.
Luxembourg
There are no specific laws or legal instruments on the access of young people to culture.
Malta
There are no specific legal instruments that refer to the access of young people to culture. Access to heritage (for all people) in mentioned in the Cultural Heritage Act from
2002
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Netherlands
There are no specific laws on the access of young people to culture.
Poland
In Poland a separate, particular law on access to culture does not exist. Polish Youth Policy is formulated in the Constitution of the Republic of Poland and regulations on
education, social welfare, state defence, employment, fight against unemployment etc.
The ordinance of the Council of Ministries of the Republic of Poland from 10 of June 2008 defines a group of people who are entitled to discounts or free admissions to state
museums. According to the article 1.1. this group include e.g. pupils of primary schools, junior high schools, high schools, technical colleges, trade schools; students and
people working for doctorates who are citizens of EFTA.
Poland
The Portuguese Constitution mentions the access of young people to culture in general terms but there are no specific laws. There are, however, several cultural policy reports
and programmes than give support to the access of young people to culture such as the “National Plan for Youth”. In fact, the local municipalities have several forms of
structures for youth participation and are defining strategies for participation.
Romania
There are several laws or Governmental Decisions with legal value: H.G. 763/2004 art 2, line 1, specify the facilitation of the students to access culture through students’
cultural houses; H.G. 801/2004 has established the creation of students’ cultural houses with financial sources from the state budget and from own revenues (donations,
sponsorships, internal and international financing and taxes from physical and juridical persons); the Youth Law 350/2006, art.4, line c) specify the youth policy objective to
promote and support the participation of young people in the cultural life of the country; H.G.23/2006, art. 4, line 18 specify the facilitation of children and young people for
programmes and projects specialized in the development of the abilities and competences that are complementary to those offered in the educational system.
Slovakia
Slovakia has no law that would define the right of young people to access to culture (apart from a general definition for all citizens in the Constitution). However, there is a law
that relates to youth, informal education, and youth volunteering. Act no. 280/2008 Coll. on support of work with youth was ratified by the government in May 2008. It defines the
basic terminology for work with children and youth, the accreditation of programmes in the area of informal education and youth volunteering, and the legislative changes to
relations between NGOs and volunteers.
Slovenia
In general, young people are not dealt with as a separate group in Slovenian legislative documents. However, the Article 5 of the Youth Councils Act does include a mention of
cultural activities for youth. This vague legislative relation between young people on the one hand and culture on the other, however, reflects the lack of sufficient and
appropriate articulation of conceptual dimensions of youth population. The latter is often understood to be identical with student population. There are some laws under
preparation and expected to be confirmed by the Parliament by the end of 2009 or early 2010 that will be dealing with youth policies and among them the access of young
people to culture.
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Spain
No specific legislation exists in this field at national level. Indeed, it is worth noting that no General Law on Youth has been enacted in Spain, although laws have been
approved to establish the Institute of Youth (Instituto de la Juventud, INJUVE) and the National Youth Council.
Most policy responsibilities in the field of culture and youth lie in the hands of regional governments and local authorities. Most regional governments have enacted laws in the
field of youth. For instance, in 2007 the Regional Parliament of Aragon passed Law 3/2007 on Youth in Aragon, which commits the Government of Aragon to 'adopt specific
measures so as to achieve the following objectives: a) to promote artistic and cultural development of young people; b) to foster creativity and innovation among young
people…; d) to foster awareness of Aragonese culture; … f) to collaborate with public and private organisations in cultural activities oriented to youth …'.
In the Canary Islands, a similar law was approved in the same year, which establishes that 'The Government of the Canary Islands will foster the necessary conditions to render
culture accessible to all young people in the Canary Islands, striving to address all unfavourable or discriminatory situations. In this respect, the implementation of a range of
programmes or projects aimed at the cultural enrichment of young people in the Canary Islands will be fostered. To this end, the following measures will be adopted: a) the
governmental department competent in the field of culture will allocate a share of the annual budget to projects and activities aimed at facilitating access of young people to the
cultural field.'
Similar examples can be found in other regions. On the other hand, local authorities do not hold competences to enact laws, but have established regulations in the field of
youth policy at their level.
Sweden
There are no legal provisions on the access of young people to culture but there are a high number of various policy documents and guidelines in relation to access of young
people such as “The Power to Decide – the Right to Welfare” from 2004.
United Kingdom
There are no separate laws on access to culture.
The Welsh Assembly Government has used the UNCRC to inform their core aims for children and young people living in Wales ( ‘translating rights into actions’. The core aims
57
in relation to young people’s access to culture include that young people ‘have access to play, leisure, sporting and cultural activities’
57
(www.new.wales.gov.uk).
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2.3. Comments
In order to provide an enabling and cohesive environment, governments need to undertake
effective and successful policies. These policies should be based on a legal framework that
assures the protection, provision and fulfilment of certain citizen rights that secure a possibility
for a satisfactory life in conditions of equality. Access to culture is a right that often lacks
sufficient legal provision, definition, or enforcement.
Our observation on national legislations shows that even if access to culture of young people is
not considered a priority issue for legal development, there are several legal provisions that
touch upon the field. Many of these provisions are related to arts education. In fact, Ireland has
legislation on the access to culture. Other issues that appear in these provisions include for
example young people and creative industries and young people as part of an ethnic minority.
One of the national reports mentions a common problem as regards the lack of legal
frameworks:
“The laws that would handle the issue of access of young people to culture are almost non existent.
And perhaps I would say that to a certain extent there is also a lack of vision about the development
and encouragement of the access of young people to culture and in my opinion the reason is that
culture is still not considered one of the priority issues when youth is concerned (or perhaps not al all).
When one looks at the position of culture in national laws and other formal acts, one sees that the
position of culture is not a very good one or even recognizable and this of course is also reflected
through the attitudes of young people to culture.”
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3. CULTURAL (YOUTH) POLICIES AND YOUTH
(CULTURE) POLICIES IN EUROPE
3.1. Introduction
The aim of this Chapter is to describe, list and analyse the structures, policies and actions that
Member States have or use as regards the relationship between young people and culture.
Even though the main actors are the states, it is also important to describe the actions of supranational parties in Europe as they often set the framework in which the Member States place
their actions. It is important to remember that the objective is not to measure the outcome of
these policies but to observe how the Member States have organised their respective
administrations and to present some examples of adopted policies. The main sources for this
chapter have been the reports delivered by the national correspondents for this study.
The chapter is constructed in a way that 3.2. outlines programmes, strategies and documents.
whilst 3.3. defines structures, institutions and actors at both supra-national and national level.
Therefore these sub-chapters should be taken as complementary to each other even if there is
a resemblance of the information used. The chapter also touches upon other themes such as
actions at the regional level and policy funding even though it has not been possible to gather
this information from all the Member States.
3.2. EU strategies, programmes and funds
3.2.1. Youth policy and access to culture
Retrospectively, the COMETT Programme, adopted in 1986 and related to vocational training
was one of the first initiatives on the European level, devoted to young people. One year later,
the now well-known Erasmus Programme58 was launched by the European Commission
focusing on the development of higher education across Europe.
In 1988 the “Youth for Europe” Programme was launched59 by the European Commission
focusing on non-formal learning. The Maastricht Treaty in 1993 extended the scope of the EU
policies to include the youth ‘field’. Article 149 § 2 states that the EU should “…encourage the
development of youth exchanges and of exchanges of socio-educational instructors…”. In the
1990s many initiatives, as part of the overall process of construction of Europe, were directed
towards young people in the areas of education, mobility, employment and vocational training.
Among them was the launch of the European Voluntary Service (EVS), which made the mobility
of young people throughout Europe much easier, therefore indirectly,their access to cultural
events and initiatives across borders. Non-formal learning, European citizenship and solidarity
were the key thoughts behind this new programme.
15 years after the launching of the first youth programme, the White Paper "A new impetus
for European Youth" was adopted in November 200160, representing the first step made by
the European Commission to set up a youth policy framework in the European Union. Its
objective is to "deepen the Community co-operation to the benefit and with the involvement of
58
ERAMUS Student Network (ESN) is one of the biggest interdisciplinary student associations in Europe for supporting
and developing student Exchange. It covers 297 High Education Institutions in 32 European countries. www.esn.org
Last consulted on 15 June 2010.
59
The Youth for Europe programme (1990). Office for Official Publications of the European Communities, Luxembourg.
60
A New Ímpetus for European Youth. (2001). Comission of the European Communities.
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young people, as a specific and essential element of a policy which is resolutely directed
towards the future." The White Paper on Youth stressed that successful youth policies are to be
based on a sound knowledge and understanding of young people’s needs, concerns and
challenges. Despite the fact that youth policy is mainly the responsibility of the Member States
(and in certain countries is a regional competence), this document is an evidence for the need
of a further synergy, coordination and complementarities between different levels of
competences. It put a special emphasis on promoting active citizenship amongst young people,
notably through participation, information and volunteering.
The White Paper was prepared over a one and a half year long period of consultations and
involvement of thousands of young people from 15 Member States, youth organisations,
experts in the youth field, national authorities and NGOs. This was, by itself, an unprecedented
act of access of young people to decision making and involving them in the process.
The European Youth Pact, adopted by the European Council in March 2005, is a common
desire to intensify the integration of the “youth” dimension in European policies. It updated the
framework for European cooperation in the field of youth from June 2002. The Pact aims to
improve education, training, mobility, and especially employment and social inclusion of young
people, whilst helping to achieve a work-life balance. The central action fields intend to build a
favourable and safe environment to ensure young people’s progressive preparation from
educational system to an independent life. The three strands are:
¾
¾
¾
Employment and social integration;
Education, training and mobility;
Reconciling work and family life.
The European Youth Pact is recognition of the importance of integrating young people into the
society and working life as well as making better use of their potential. It clearly states that to
fight against youth unemployment, young people have to be a priority in the employment
strategies in every country. It is also an indication of the need for a more unified and coherent
approach to youth issues, especially in the context of the Lisbon strategy and its relevance to
young people, addressing issues such as education, employment and social inclusion. Culture,
cultural participation and access to culture for young people are not specifically indicated in the
Pact but, they are incorporated indirectly especially in the trend related to education, training
and mobility.
In September 2007 the Commission communicated another key document “Promoting Young
People’s Full Participation in Education, Employment and Society”, emphasising on “a
need for a transversal youth strategy, building on cooperation between policy makers and
stakeholders at European, national, regional and local levels.”61 This Communication was a
major step in a policy process on youth issues, which started in 2001 with the White Paper on
Youth. It gave a new impulse to educational, employment and inclusion policies related to
youth, covering areas such as: education, unemployment, promoting entrepreneurship, social
inclusion, better health, youth participation and voluntary activities.
All these steps taken in the period 1998-2008 are a clear indication that youth policies are seen
as investment policies in human resources and should be seriously taken into account in the
strategic policy-making at all levels.
The Youth in Action Programme (2007-2013)62 is a major initiative of the European
Commission. It is the successor of the former “Youth Programme 2000-2006” and has four main
priorities: European citizenship; cultural diversity, inclusion of young people with fewer
opportunities and active participation. More particularly, the programme promotes “mobility
within and beyond the EU borders, non-formal learning and intercultural dialogue, and
encourages the inclusion of all young people, regardless of their educational, social and cultural
61
Source: http://eur-lex.europa.eu/LexUriServ/site/en/com/2007/com2007_0498en01.pdf Last consulted on 15 June
2010
62
Source: http://ec.europa.eu/youth/index_en.htm. The programme has been running since 2000 and was renewed on
15 November with the Decision No: 1719/2006/EC by the Council of Ministers and the European Parliament.
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background”. The programme involves all 27 EU Member States, EEA/EFTA countries (Iceland,
Liechtenstein, Norway), Turkey, the EU neighbouring countries (Eastern Europe and Caucasus,
the Mediterranean region, South-East Europe), as well as other partner countries in the world.
The main actions within the programme are:
¾
¾
¾
¾
¾
Youth for Europe, divided into three sub-directions: Youth Exchanges; Youth Initiatives
and Youth Democracy Projects. This action aims at encouraging young people's active
citizenship, participation and creativity.
European Voluntary service: support of young people's participation in various forms
of voluntary activities, both within and outside the European Union.
Youth in the world, including: cooperation with the neighbouring countries and
cooperation with countries not covered by European Neighbourhood Policy. This action
promotes partnerships and exchanges among young people and youth organisations
across the world.
Youth support systems: including support for bodies active at European level in the
field of youth, support for the European Youth Forum, training and networking of youth
workers, projects encouraging innovation and quality, information activities for young
people and youth workers. These various measures aim at supporting youth workers
and youth organisations and improve the quality of their activities and gain higher level
of professionalism.
Support for policy cooperation in the field of youth, aiming at supporting youth
policy cooperation at European level, in particular by facilitating dialogue between
young people and policy makers.
Within the framework of this programme, several initiatives have been created to promote the
access of young people to culture or, by all means, to use culture as a vector to promote
participation, social integration and active citizenship. Therefore, many projects have a crosssectoral outlook and have involved different countries in a multilateral cooperation in the
creation of initiatives. Young people usually take an active role in the organisation and
execution of the projects, being at the same time the creators and the recipients of the
initiatives. Since the launch of the first programme called Youth for Europe in 1988, more than
1.5 million young people and youth workers have participated in tens of thousands of EUsupported projects. The programme was a proof that increased access to other countries and
cultures, the opportunities to experience “foreign” cultures and the non-formal learning
experiences abroad are extremely valuable for young people.
The Youth in Action programme works with national agencies. Their primary role is to promote
and implement the Programme at national level, as well as to encourage and facilitate
partnerships. The agencies are also responsible for the selection of projects according to the
criteria set by the European Commission.
On 22 May 2008 the Council of Ministers adopted a resolution on the participation of young
people with fewer opportunities. Cultural exclusion is mentioned in the resolution as one of
the obstacles to participation. Implementing strategies on national level to foster participation of
young people and facilitate their access to public and cultural life has become increasingly
important.
The EC Renewed Social Agenda announced on 2 July 2008 was designed “to ensure that
European Union policies respond effectively to today's economic and social challenges”.63 One
of the priority areas was directed towards children and youth, with the particular goals to:
¾
¾
¾
create more opportunities for youth in education and employment,
improve access and full participation of all young people in society, and
foster solidarity between youth and society.
63
European Commission – Employment, Social Affaire and Equal Opportunities –
http://ec.europa.eu/social/main.jsp?catld=547 Last consulted on 15 June 2010
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The “access and participation” is regarded in a broader sense of access to education, work,
social and political life. Culture is not particularly mentioned.
The Commission Communication about a new EU strategy for youth entitled "Youth –
Investing and Empowering"64, released in April 2009 as one of the follow-up initiatives to the
Renewed Social Agenda, proposed to reinforce the youth open method of coordination between
Member States and to develop a stronger cross-sectoral approach on all policy areas affecting
youth such as employment, education, health or social inclusion. The proposed new strategy is
a result of extensive consultations between national authorities, the European Youth Forum,
youth organisations and other stakeholders. Young people themselves were consulted online
during the development of the strategy and were invited to react to the Commission’s proposal
in a mode of a permanent dialogue. The Communication acknowledges that young people are
the most precious resource, and at the same time one of the most vulnerable groups in society,
especially in the current economic and financial crisis we live in.
The first EU Youth Report, presenting and analysing main available data on the situation of
young people in Europe, was released together with the April 2009 Communication. The
document illustrates that factors influencing access of young people to culture are much
dependent on one hand to government’s policies and instruments, and on the other - on the
lifestyle, needs, interests and preferences of young people themselves.
On the basis of the Commission Communication, the Council adopted a resolution on a
renewed framework for European cooperation in the youth field (2010-2018) on 27 November
2009. The resolution forms a natural continuity for the White Paper on Youth and the European
Youth Pact and the April 2009 Communication.65 The Resolution acknowledges the importance
of culture in the future and the well-being of European young people and of Europe, and lists
Creativity and Culture as one of the eight main fields of action.66 According to the resolution the
aim of the Creativity and Culture action is “Young people’s creativity and capacity for innovation
should be supported through better quality access to and participation in culture and cultural
expressions from an early age, thereby promoting personal development, enhanced learning
capabilities, intercultural skills, understanding and respect for cultural diversity, and the
development of new and flexible skills for future job opportunities.67 The initiatives for Member
States and the Commission proposed in this area are:
•
•
•
•
•
Support the development of creativity among young people by following up the Council
conclusions on promoting a Creative Generation: developing the creativity and
innovative capacity of children and young people through cultural expressions and
wider access to culture
Widen quality access to culture and creative tools, particularly those involving new
technologies and develop opportunities for youth people to experience culture and
express and develop their creativity within or outside school
Make new technologies readily available to empower young people’s creativity and
capacity for innovation, and attract interest in culture, the arts and science
Provide access to environments where young people can develop their creativity and
interests and spend a meaningful leisure time
Facilitate long-term synergies between policies and programmes in the fields of culture,
education, health, social inclusion, employment and youth with the view to promoting
young people’s creativity and capacity for innovation
64
An EU Strategy for Youth – Investing and Empowering (2009). http://youthpartnership.coe.int/expoert/sites/default/youth-partnerhip/news/attachments/communication_final.pdf
65
Source: http://youth-partnership.coe.int/youth-partnership/news/news_123.html Last consulted on 15 June 2010
66
The main fields of actions are: education and training; employment and entrepreneurship; health and well-being;
participation; voluntary activities; social inclusion; youth and the world; creativity and culture. The instruments for
implementation are listed to be knowledge building and evidence-based youth policy; mutual learning; progress
reporting; dissemination of results; monitoring of the process; consultations and structured dialogue with young people
and youth organisations and mobilisation of EU programmes and funds.
67
Council resolution on a renewed framework for European cooperation in the youth field (2010-2018)
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•
Promote specialised training in culture, new media and intercultural competences for
youth workers
The European Youth Week (EYW)68 took place in Brussels in November 2008), providing an
open platform for young people and policy makers across Europe (31 countries participating in
the Youth in Action Programme) to meet and discuss policy and practical issues. Marking the
20th anniversary of European programmes for youth, EYW looked at the past achievements
while discussing future challenges for young Europeans, suggesting further steps to be taken in
the field of EU youth policy, making sure that young people’s future is improved. The
coincidence between the EYW and the 2008 European Year of Intercultural Dialogue (EYID)
gave flavour for discussing the relevance of cultural diversity and intercultural dialogue to the life
and the future of young people.
3.2.2 Cultural policy and youth access to culture
Culture is recognised as an important part of the main policy instruments and programmes of
the EU. This is confirmed by the 2006 approval by the Council on behalf of the Community of
the UNESCO Convention on the protection and the promotion of the diversity of cultural
expressions. As culture remains primarily a responsibility of Member states, cultural policy
actions at EU level are undertaken in respect of the main principle of subsidiarity, according to
the Article 167 of the TFUE, where the main role of EU in respect to culture is supportive and
complementary, rather than directing or replacing.
The key Communication on a European Agenda for Culture in a Globalising World69 was
proposed by the Commission in May 2007. This Agenda, which was prepared by a followed-up
public on-line consultation, was approved by the cultural sector during the Lisbon Forum of
September 2007. It was also endorsed by the Council in its Resolution of November 200770 and
then by the European Council in its conclusions of December 2007. Promotion of access to
culture is considered as one of the main priorities, addressed essentially at young people.
In order to promote the three defined strategic objectives (the promotion of cultural diversity and
intercultural dialogue; promotion of culture as a catalyst for creativity in the framework of the
Lisbon Strategy; and promotion of culture as a vital element in the EU external relations), the
European Agenda for Culture introduces new cooperation methods with various stakeholders: a
structured dialogue with the cultural sector; a reinforced mainstreaming of culture in all EU
programmes and policies through enhanced synergies between the Directorates-General of the
European Commission, as well as a more structured system of cooperation between the
Member States and the EU institutions (the "Open Method of Coordination").
Within the framework of the above-mentioned European Agenda for Culture, five priority areas
were articulated around the three objectives of the Agenda, and set by the Council as suitable
for the Open Method of Coordination (OMC) framework. These areas effectively provide the
basis for the Council work plan for culture 2008-2010, through which the Agenda for culture
becomes operational:
¾
Improving the conditions for the mobility of artists and other professionals in the
cultural field;
¾
Promoting access to culture, especially through the promotion of cultural
heritage, cultural tourism, multilingualism, digitisation, synergies with education
(in particular arts education) and greater mobility of collections (emphasis
added);
68
European Youth week 2008: http://www.youthweek.eu Last consulted on 15 June 2010
Communication from the Commission to the European Parliament, the Council, the European Economic and Social
Committee of the Regions on a European agenda in a globalising World (COM 2007)
70
Official Journal C 287 , 29/11/2007 P. 0001 - 0004
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¾
Developing data, statistics and methodologies in the cultural sector and
improving their comparability;
¾
Maximising the potential of cultural and creative industries, in particular that of
SMEs;
¾
Promoting and implementing the UNESCO Convention on the Protection and
Promotion of the Diversity of Cultural Expressions.
In order for Member States to move ahead in these priority areas and deliver concrete results in
2010, five groups of experts have been set up, two of which are directly relevant to access to
culture:
¾
Mobility of collections and activities of Museums;
¾
Synergies between culture and education.
These Working Groups are expected to feed into the political reflection at the EU level and
make a concrete contribution through identifying, sharing and validating best practices,
preparing recommendations for specific measures for their implementation, making proposals
for cooperation initiatives between Member States or at the EC level and for elements of
methodology to evaluate progress, as well as formulating policy recommendations.
The group on "synergies with education" published in July 2009 its "Intermediate Report". This
report contains many relevant aspects in terms of access to culture, like heritage education or
the need for partnerships between schools and cultural institutions.
In the framework of the European Agenda for Culture, three “cultural platforms” have been
established – or continued - acting as key channels for cultural stakeholders to provide
recommendations and input:
¾
¾
¾
Rainbow Platform on Intercultural Dialogue
Platform on Access to Culture
Platform on Culture and Creative Industries.
The Access to Culture Platform was set up in June 2008. Its focus is to advocate for the best
conditions for artistic creation and to put participation in the arts as one of the key objectives of
European policies. The Platform aims at producing concrete recommendations addressed to
policy-makers on how to enable sustain and increase participation in culture and all kinds of
artistic expressions at all levels. Youth access to culture is regarded as part of the overall
motivation and enhancement of cultural participation.
The policy document elaborated in summer 2009 that you will find in Annex VI was based on
the conclusions of the three working groups within the Platform: working group on education
and learning; working group on creativity and creation and working group on audience
participation. The policy documents places access and participation within a human rights
framework and presents eight principal policy recommendations:
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¾
¾
¾
Overcoming linguistics barriers – language education and support for translation; to
remove linguistic obstacles to access to culture
Supporting highly qualified professionalism – social protection, education and
training programmes; to ensure professional development and growth and, in turn,
broaden the diversity of the cultural offer
Improving funding and procedures – more diverse and flexible funding opportunities,
easier access to information – to facilitate access to funding to a larger group of artists
and cultural professionals.
Advancing mobility and exchange - Mobility funding, spaces for encounters and
exchange, support to diffusion of artistic processes and products – to increase mobility,
and integrate cultural stakeholders in foreign actions.
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¾
¾
¾
¾
Promoting the cultural use of new technologies - Increased access to new
technologies to public and cultural actors, while ensuring appropriate protection of
creators’ and interpreters’ rights – to increase the cultural potential of new technologies.
Stimulating learning through culture - recognition of the synergies between
education and culture and support to such projects in all appropriate funding
instruments – to increase the access to culture through education and the access to
education through culture.
Positioning access to culture upstream and transversally in all cultural policymaking - participatory policymaking, interdisciplinary policy working groups – to
improve specific and general policies promoting access to culture.
Raising awareness of the legal frameworks on access to culture - information,
ratification and implementation of all legal instruments on access to culture – to
translate international commitments on access to culture into genuine policies.
The EU Culture Ministers adopted Council conclusions on Promoting a Creative Generation –
developing the creativity and innovative capacity of children and young people through cultural
expression and access to culture on 27 November 2009. The document highlights the
importance of access of young people to culture in many forms through cultural activities,
creativity and cultural diversity and, underlines that access to culture is still not equally available
to all children and young people and calls for the Member States to take effective action on this.
Among the six priorities of the document, access to culture forms an essential part even if
explicitly mentioned in relation to the use of ICTs.71
In March 2010, the Commission has presented a proposal for a Decision of the European
Parliament and of the Council establishing a European Union action for the European Heritage
Label72. One of the aims of this proposed action is to raise young people’s awareness of their
common cultural heritage and increase access to heritage sites for youth. The initiative consists
in awarding a special label to sites that fulfil certain commitments on enhancing European
dimension of the common heritage. The initiative underlines “the importance of raising the
awareness of young people of the shared cultural heritage and hence the necessity to promote
their access to European cultural heritage73”.
The present Culture Programme 2007-201374 is designed to enhance the shared cultural
heritage of European citizens through the development of cross-border cooperation between
cultural operators and institutions. With a budget of €400 million, the programme supports three
strands of activities: cultural actions; European-level cultural bodies; and analysis and
dissemination activities. Supported cultural actions run from multi-annual co-operation projects
to European Capitals of Culture initiative. The analysis and dissemination activities include
giving support to cultural contact points, and collection and dissemination of information. The
programme underlines mutual understanding, creativity and mutual enrichment of cultures
across Europe. The three main objectives are:
¾
¾
¾
to promote cross-border mobility of those working in the cultural sector;
to encourage the transnational circulation of cultural and artistic output;
to foster intercultural dialogue.
71
The six principles with a view to promoting a creative generation in the European Union: include a “children and
young people” perspective in relevant policies to promote culture; optimise the potential of the education sector to
enhance the promotion of creativity through culture and cultural expression; encourage and support cultural institutions
(e.g. museums, libraries, galleries, theatres) to better engage with children and young people; promote talent and
creativity through culture as part of social inclusion strategies for children and young people; promote better access to
culture through the use of ICTs for all children and young people; facilitate the exchange of good practices and develop
an “evidence base” of knowledge in this field.
72
73
COM (2010) 76
Draft Council conclusions on the creation of a European Heritage Label by the European Union, 21 October 2008
Culture 2007-2013 Programme: http://ec.europe.eu/culture/our-programme-and-actions/doc411_en.htm
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The types of activities supported by the Culture Programme include: festivals, master classes,
exhibitions, new productions, tours, translations and conferences. The target groups are mainly
artists and cultural operators, as well as the general audience. Young people, and those who
are socially or economically disadvantaged, are mentioned as one of the priority beneficiaries. It
is difficult to extract from the database of the granted project the exact projects related to tools
and mechanisms to increase the access of young people to culture.
Other programmes having a recognised impact on youth access to culture are the ones dealing
with the links between learning and culture, and stimulating cultural citizenship. Among them
are:
¾
¾
¾
“Europe for Citizens” (2007-2013)75 promoting active European citizenship, which
immensely includes youth access to and participation in culture;
(This fits better under the Lifelong Learning programme below) Programmes supporting
lifelong learning, such as Erasmus and Erasmus Mundus76. They also stress the
importance of multilingualism, mobility and exchanges between young people. The
objectives of Erasmus Mundus’ programme are directed towards enhancement of
quality in European higher education, promotion of EU as a centre of excellence in
learning around the world, and promotion of intercultural understanding through
cooperation with Third Countries.
Digital Libraries Initiative, which aims at making Europe's diverse cultural and scientific
heritage easier to access online.
The 2008 European Year of Intercultural Dialogue (EYID)77 focused on cultural diversity and
encouraging all European citizens to explore the benefits of the rich cultural heritage and
opportunities to learn from different cultural traditions. Young people were the main target group
of the activities planned in the framework of EYID. The combination between the 20th
anniversary of Youth in Action programme and the focus on intercultural dialogue led to many
examples of good practice, illustrating in a practical way what Europe can do for the young
people and their increased access to other cultures. All events and projects during EYID
contributed in one way or another to mutual understanding and better living together for young
people as European citizens.78
3.2.3. Education, lifelong learning and youth access to culture
Cultural expression is one of the eight key competencies defined in the Recommendation of the
European Parliament and of the Council on 18 December 2006 on key competencies for lifelong
learning. Key competences for lifelong learning are a combination of knowledge, skills and
attitudes particularly necessary for personal fulfilment and development, social inclusion, active
citizenship and employment. As regards young people they form the basic competences they
should have at the end of their compensatory education that prepare them for the adult and
working life. Cultural awareness and expression as a key competence means “appreciation of
the importance of the creative expression of ideas, experiences and emotions in a range of
media (music, performing arts, literature, and the visual arts).” Together with other key
competences cultural expression prepares young people for critical thinking, problem-solving
and other necessary elements for adult life and future learning.
Related to life-long learning the European Commission has integrated its various educational
and training initiatives under a single umbrella, the Lifelong Learning Programme. Among the
75
Decision number 1718
Source: http://eacea.ec.europa.eu/erasmus_mundus/index_en.php Last consulted on 15 June 2010
77
The European Year of Intercultural Dialogue (2008) was established by Decision No. 1983/2006/EC of the European
Parliament and the Council (18 December 2006).
78
See: Youth in Action. European Good Practice Projects (2008). http://ec.europa.eu/youth/sharingexperience/doc/thematic_compendia/good_practices_intercultural_dialogue.pdf Last consulted on 15 June 2010
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four programmes (Comenius, Erasmus, Leonardo da Vinci and Grundtvig), the Grundtvig
programme has a cultural dimension79. In addition to learning that takes place within the formal
or non-formal system, Grundtvig also encompasses learning that takes place on a more
informal basis, such as ‘autonomous learning’. Beyond the Socrates programme, Grundtvig has
also highlighted the need to combine cultural and youth-oriented activities with the vocational
training sectors. Some of the Grundtvig projects have a cultural dimension, although most tend
to focus on new ways of providing adult learning initiatives.
A good example of connecting education with inter-cultural communication for preventing violence is the
project carried out by a German institution in collaboration with partners from the United Kingdom, Latvia
and France in 2004 Gewaltprävention - Kommunikationstraining und Konfliktlösungsstrategien that
aimed at developing ‘an action-oriented concept’ to the prevention of violence and problem-solving,
addressed at young people through providing a second chance at obtaining qualifications at European
schools. Besides the prevention of violence, this concept has been an example of inter-cultural
communication. Most of these young people come from socially disadvantaged groups, many of whom are
migrants, who left school without qualifications. These individuals have low self-esteem and most of them
80
come from a domestic background where there has been a history of violence .
As mentioned, Grundtvig complements and has links to other actions within Socrates such as
Comenius (school education) and Erasmus (higher education) by forming a third link in the
‘single education chain’. Grundtvig also links into other EU programmes such as Leonardo da
Vinci, in order to cover the whole spectrum of lifelong learning. Leonardo da Vinci is the EU’s
community vocational training action programme, which provides funding for projects in the field
of education and training in the arts, educational projects in schools on cultural themes and
projects to raise cultural awareness. The programme also provides training in traditional crafts
and in restoration and development of cultural heritage.
An interesting project promoted by the University of Manchester within the Leonardo da Vinci programme
81
was the Social Inclusion through Access to Media Industries (SItAMI) in 2003 . It aimed at
developing employability and other appropriate skills that are associated with media industries. These
skills are related to the use of a variety of media traditionally used in expressive and performing arts but
which are ‘harnessed’ through the use of technology and computer-based vocational skills. The target
groups of the project are young people in vocational training who consistently defer from social
participation, due to poor social skills and who have a limited opportunity to express their personal
interests within the training context. The project also aimed to address the inadequate training provision for
ethnic minorities (particularly for women) who often lack communication skills and specific cultural
references, which would enable them to identify their own training requirements. Finally, many of the
targeted groups may have additional multiple disadvantages, including disability. The project involved
training of trainers who work to improve the self-esteem of disadvantaged young people and build on their
creative talents in order to link them into media-related skills. This is to establish greater employability
opportunities within the media industries, and more widely, in areas where media production is not
established, but where jobs in industries are dependent upon computing and media-based skills.
Looking at the history of the EU, related to youth policies, as well as educational and cultural
policies, it is obvious that the Community has brought about several positive changes for young
people. An efficient progress has been made in the field of education (at all levels) and mobility
for young people. Big challenges still left are the ones related to social problems such as:
poverty, health, alcohol consumption, AIDS and suicide, immigration and “brain-drain”,
unemployment, and much more. It is important that in the future policy directions and research
work argumentation and instruments are suggested on how an increased access to culture
could bring solutions to some of these burning problems. Access to culture should not be
regarded as an issue by its own, but in close connection with all existing social problems of
young people across Europe. It is also closely connected with participation of young people into
social, political and cultural life of a certain city, region, country, and in Europe as a whole.
Young people are the best strategic resource for reinforcing prosperity, social inclusion and
citizenship in the EU.
79
Source: http://ec.europa.eu/education/lifelong-learning-programme/doc86_en.htm Last consulted on 15 June 2010
Source: http://www.isoc.siu.no/isocii.nsf/projectlist/100377 Last consulted on 15 June 2010
81
See: http://www.csi.mmu.ac.uk/sitami/index.html Last consulted on 15 June 2010
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3.3. Other institutions and actors in Europe
3.3.1. Pan-European level
Apart from the EU activities, which are dealt with under 3.2, it is worth mentioning the Council of
Europe and the Youth Partnership developed by the two international organisations, which deal
indirectly with youth access to culture.
The first formally identified need for youth research in Europe was identified in 1967, by the
Council of Europe, when the Parliamentary Assembly adopted a directive, calling for the study
of youth problems in Europe.82 Since 1968 and then with the establishment of the European
Youth Centre in Strasbourg (1972), the Council of Europe has drawn attention to the importance
of youth participation in institutional and political life in its reports.83 Young people’s access to
culture has not been of a particular research and action interest to the Council of Europe. The
issues of “culture” and “youth” are split between the two sub-departments mentioned above. In
1997, the Council of Europe developed a new approach to youth policy development by
launching a programme of international reviews of national youth policies84.
Currently, the Council of Europe deals with youth policies and access to culture primarily within
the Department of Education, Culture and Heritage, Youth and Sport85:
The cultural governance focus of the Council of Europe covers issues related to participation
and access. A study providing policy examples, guidelines, indicators and good practices with
regard to cultural provision, participation in culture and access to culture is in making and will be
published in a form of a guidebook.86 Among issues planned in the study are: an overview of
cultural rights in existing policies at different levels (international, national, local), as well as in
legislative processes; a presentation of specific themes covering topical concepts and
vulnerable groups; an overview of trends in Europe as regards cultural provision, access and
participation; a set of ideas and recommendations for action, follow-up and design of
participatory policies.
The Council of Europe’s youth policy objectives, expressed in diverse policy documents, are
mainly related to active citizenship, promoting young people’s access and helping them to be
autonomous, responsible, creative, committed and caring for others.
The European Youth Foundation (EYF) is a fund established in 1972 by the Council of
Europe to provide financial support for European youth activities. Its purpose is “to encourage
co-operation among young people in Europe by providing financial support to such European
82
Study of Youth problems in Europe (doc. 2277),
http://assembly.coe.int/main.asp?Link=/documents/adoptedtext/ta67/edir265.htm Last consulted on 15 June 2010
83
The Council of Europe reports and actions include: Group participation by young people (1975); Youth co-operation in
Europe (1980); Participation of young people in political and institutional life (1985); Youth representation at national
level (1990); Establishment of the European Youth Centre in Budapest (1996); European youth co-operation and recent
proposals for structural change (1998).
84
The new approach aimed to: improve good governance in the youth field of the country reviewed by promoting
dialogue and better co-operation between the government, civil society organisations and research; identify components
of youth policy which might inform an approach to youth policy across Europe; contribute to a learning process about
the development and implementation of youth policy; contribute to the body of youth policy knowledge and development
of the Council of Europe; make contribution to greater unity in Europe in the youth field and set standards for public
policies in the youth field
85 The current priorities of the Directorate of Culture, Cultural and Natural Heritage include: “intercultural dialogue, value
of cultural heritage for society, the importance of landscape for sustainable development, evidence-based policy
making, regional co-operation, climate change and biodiversity (Source: http://www.coe.int/T/DG4/CultureHeritage). The
priorities of the Directorate for Youth and Sport for 2009 are: human rights education and intercultural dialogue, youth
participation and democratic citizenship, social cohesion and inclusion of young people and youth policy development
(source: http://www.coe.int/T/DG4/youth/default_en.asp). Internet pages last consulted on 15 June 2010.
86
Source: http://www.coe.int/t/dg4/cultureheritage/Policies/Research/access_en.asp Last consulted on 15 June 2010
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youth activities which serve the promotion of peace, understanding and co-operation in a spirit
of respect for the Council of Europe's fundamental values such as human rights, democracy,
tolerance and solidarity.”87 The European Youth Foundation is a fund set up to provide financial
support to international youth activities. It has an annual budget of approximately
2,300,000Euro. Access to culture is not specifically mentioned as a funding priority, but one of
the areas is “educational, social, cultural and humanitarian activities of a European character “.
The Council of Europe and the Commission of the European Union initiated a Partnership
Agreement in 1998 aiming “to promote active European citizenship and civil society by giving
impetus to the training of youth leaders and youth workers working within a European
dimension”.88 Underlying principles of the Partnership are:
¾ Citizenship, participation, human rights education and intercultural dialogue;
¾ Social cohesion, inclusion and equal opportunities;
¾ Recognition, quality and visibility of youth work and training;
¾ Better understanding and knowledge of youth and youth policy development.
While Youth access to culture is not an explicit part of the Partnership agreement, it is indirectly
connected with the main focus areas.
In 2003 both institutions – the Council of Europe and the European Union – agreed to enhance
their co-operation in order to develop a common and better knowledge basis in the youth field
through networking and collecting research knowledge to feed into both European youth and
educational policies and practices.89 This was a step towards encouraging a consistent dialogue
between the youth work activists, policy makers and youth researchers. Important results of this
partnership are:
•
•
•
Setting up of a European Knowledge Centre for Youth Policy (EKCYP) – a virtual
platform launched in 2005, aiming to “provide the youth field with a single entry point to
access knowledge and information on the realities of youth across Europe.” The main
focus is placed on young people's active citizenship (participation, information,
voluntary activities), but also on employment and social inclusion covered by the
European Youth Pact.
Network of Youth Researchers, holding regular annual meetings since 2003 to
discuss and exchange opinions on current research issues.
A study on the Socioeconomic scope of Youth Work in Europe90 (2004) aiming to
provide a comparative overview and analysis of youth activities, especially regarding:
o the sectors of specific and related youth activities
o the money and time invested in them;
o the number of people employed and
o the young people participating in these activities.
Partnership between Ministers responsible for Youth
Synchronisation of national policies for youth between the Member States, exchange of
experiences and working on common future trends play an important aspect of national
ministries’ priorities. This is done by long existing patterns of partnership and cooperation
between the national ministries for youth. The first European Conference of Ministers
responsible for Youth took place in Strasbourg, 1985. It was a highlight of the International
Youth Year in Europe. The Ministers meet periodically (Oslo 1987, Lisbon 1990, Vienna 1993,
Luxembourg 1995, etc.). The conferences allow them to exchange views and co-ordinate
policies particularly in the areas of youth mobility, youth research and participation of young
people.
87
Sauce: http://www.coe.int/t/dg4/youth/fej/FEJ_presentation_EN.asp Last consulted on 15 June 2010
Source: http://www.coe.int/t/dg4/youth/Partners/Partnership_EC_CoE_en.asp Last consulted on 15 June 2010
Source: http://www.youth-partnership.net/youth-partnership/research/index Last consulted on 15 June 2010
90
Source: http://www.youth.partnershop.net/youth-partnership/research/socioeconomicscopeofwork.html Last consulted
on 15 June 2010
88
89
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One of the latest efforts to coordinate youth policies amongst the European countries was the
8th Council of Europe’s conference of Ministers responsible for Youth in Kyiv, Ukraine (10-11
October, 2008) – “The future of the Council of Europe Youth Policy: AGENDA 2020”. The
Ministers declared their determination “to pursue the objective of ensuring young people’s
access to quality education and training, to decent work and living conditions, as well as
developing the conditions to enable them to contribute to the development of society.”91 As
priorities of the Council of Europe in regard to youth policies are outlined:
¾
¾
¾
Human rights and democracy;
Living together in diverse societies;
Social inclusion of young people.
Culture and access to culture is not part of the discussion and the outcomes.
3.3.2. National level
Youth access to culture: between educational and cultural policies
The official institutions, responsible for development and implementation of youth policies and
access to culture at national level in most of the Member states, are the Ministries of Culture
and Ministries of Education. Most of the countries report that both ministries split the policies
and responsibilities for youth and youth access to culture. The main reasons for this are:
•
•
Educational policies (formal or non-formal) include arts education. In some cases, the
Ministries of Education deal with preparing young people to find appropriate work
corresponding to their educational backgrounds, needs and expectations, including
finding work in the arts and culture sector, corresponding to their talents and interests in
the arts. Arts education is an important aspect of access to culture for young people, as
it creates needs to participate and enjoy art from an early age. In the case of
employment policies related to the cultural sector, joined programmes between the
ministries of education and ministries of labour/social affairs are set up.
Cultural policies are directed towards providing wider access to cultural institutions and
events, including vulnerable groups of the population. Children and young people are
considered as one of them.
Examples of youth policies within the responsibilities of the ministries of culture and education:
•
•
•
Greece has reported to have a multi-year education-culture programme as a joint
initiative between the two ministries (entitled “Melina” – effective as from September
1995 in elementary schools all over Greece), where the Ministry of Education has a
responsibility to establish and fund programmes that promote cultural life, especially
related to access and creativity. More specifically, to provide a wide-ranging framework
of educational opportunities for school children in the areas of cultural heritage and the
arts, complementary to the national school curriculum in collaboration with the Ministry
of Culture.92
The Ministry of Culture of Latvia has set up a Strategic Planning Division, dealing with
issues such as: culture education, public participation, child and youth policy. One of its
aims is to coordinate youth related issues within national cultural policy. The Ministry of
Education and Science deals with programmes that affect youth access to culture,
general education and interest/hobby education, as well as lifelong learning.
In the case of Poland, there is a Department of Art and Cultural Education within the
Ministry of Culture and National Heritage, deals with access to culture and emphasises
its importance in its policy documents .
91
Source: http://www.youth-partnership.net/expoert/sites/default/youthpartnership/documents/EKCYP/Youth_Policy/docs/YP_development/Policy/Agenda2020_Declation_EN.pdf Last
92
Source: www.prmelina.gr Last consulted on 15 June 2010
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•
In Germany the Ministry for Education and Research has a section for Education
Research, with a unit dedicated specifically to cultural education. The Ministry supports
research and pilot projects, competitions, education reform, and the National Education
Report. The Federal Commissioner for Cultural and Media Affairs (there is no national
Ministry) increasingly champions cultural education. Youth access to culture is
promoted through the cultural institution the Commissioner funds, through supporting
pilot projects and prizes and, indirectly, through two foundations funded by the
Commissioner. An advisory committee of experts from politics, research and
associations advises on youth policy; specialised parliamentary committees also work
on policy in these areas. In Germany, the main competencies in culture and education
lay however with the 16 Federal States or Bundesländer.
There is one national/federal ministry, responsible for most issues related to education, arts
and culture, taking on board also youth affairs and access to culture for young people in the
following countries: Austria (Federal Ministry for Education, Arts and Culture), Cyprus (Ministry
of Education and Culture), Czech Republic (Ministry of Education, Youth and Sport), Finland
(Ministry of Education).
National bodies specialised in youth policies and affairs
Specialised national bodies especially devoted for youth issues, or distinct departments for
youth under one of the ministries are established in most of the Member states. These youth
units are reported to consider youth policies very closely related to:
¾
¾
¾
leisure time of young people, primarily sports, physical education, social tourism;
education-both formal and non-formal (after school);
equal opportunities for young people, with special emphasis on disadvantaged
groups.
Cultural activities and relations with the arts sector are not within the main policy priorities of
these specialised departments or bodies. The way and operational structure under which such
bodies are set up differs. The tasks of the bodies are described in Table 4 of Annex II.
Children and youth policies: relations with family affairs
In several Member States the policies addressing youth issues are closely related to care and
support for family issues. There is no report on special policy instruments on access to culture,
implemented by these ministries, but the emphasis on family matters from an economic and
social angle, indirectly reflects the way young people spend their free time and have an
opportunity to be involved in cultural and artistic activities, both passively and actively. Few
examples of national ministries covering both family and youth affairs are reported by national
correspondents:
•
•
•
•
•
The Hungarian Ministry of Youth, Family, Social and Equal Opportunities has an Equal
Opportunities State Secretary.
The Latvian Ministry of Children, Family and Integration Affairs has developed a
network of 81 youth centres and local youth policy coordinators, involved in culture
related activities, including the one targeted to young people.
The Netherlands has established a Ministry for Youth and Families in 2007, with a
separate Minister of Youth.
In Luxembourg, there is a National Youth Service set up under the Ministry of Family
and Integration.
Slovenia has a Ministry of Family and Social Issues.
Several countries reported a strong emphasis on “children” within youth, cultural and
educational policies. For example, Finland has an Arts Division within the Ministry of Education
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and Science with a special emphasis on cultural activities for children. The Arts Council of
Finland has set up a sub-committee of culture-awarding grants to artists and communities
making art for and with children.
Other national ministries
As youth policies are of a complex matter, the national reports indicate other ministries involved
in the policies and practices related to youth, including access to culture in an indirect manner.
In most of the cases the Ministries of Labour and Social Affairs are mentioned as having a tight
connection between youth and employment issues, as well as social problems concerning
youth. In some cases, the national bodies responsible for communication and Media policies
take on board some of the youth related issues. Ministries of foreign affairs get involved in areas
related to mobility and travelling of young people abroad and joined programmes related to
youth policies between the countries, which increase the access of young people to cultural
experiences and events abroad. A couple of national reports prepared for this study touch upon
the importance of youth issues for tourism policies; including access of young people to cultural
sites, museums and other cultural organisations of national significance. Other ministries
involved in youth policies are described in Table 5 of Annex II.
An important support function for youth policy is research, as it helps policy-makers and
youth workers to understand youth issues, needs and trends; to analyse statistics and set up an
“evidence-based” policy towards youth. The national bodies responsible for research, gathering
and dissemination of information on youth policies and practices, including connections with
culture and education as described in national reports are listed in Table 6 in Annex II.
3.3.3. Sub-national level
Youth access to culture is certainly different in various parts of Europe, as well as in rural and
urban areas. It differs according to factors such as: social background, ethnicity, culture,
religion, gender, social and economic circumstances in which young people live. There are
diverse examples given in the national reports of institutions and actors responsible for
elaboration and implementation of youth policies on regional and local levels. In some cases
youth affairs are treated under separate directorates/units, while in other cases they are
incorporated under educational or employment units, as well as cultural and community ones.
Examples on the main players on sub-national level, reported by correspondents are listed in
Table 7 of Annex II.
In many countries the national youth policies and objectives seem not to be followed up by the
youth policy units at the local level. There is a lack of synchronisation both vertically (between
the national/federal, provincial/regional and local/city level) and horizontally (between the main
bodies responsible for youth policies locally).
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3.4. Policy objectives and actions on national and sub-national
level
3.4.1. National policy priorities and objectives
A majority of the Member States report education – including art education at schools and
educational initiatives related to culture – as a primary focus of youth policy priorities related to
access to culture. Enriching school curricula with art related subjects, facilitating diverse forms
of after-school educational activities as regards young people’s hobbies and leisure time, are
considered as an important way to educate young people from the very early stages about the
importance of culture. Connections between school, community life and arts and cultural
activities are also in the focus of youth policies in many countries. Cultural education is
considered important not only because of transmission of knowledge, but because it is
preparing the new/future cultural producers and audiences. 93
National reports outline the following priorities related to education:
¾
¾
¾
¾
¾
¾
¾
¾
¾
¾
¾
Art and cultural education at schools – Belgium, Finland, Germany, Hungary, Ireland,
Malta, Portugal and Slovenia.
Various forms of cooperation between schools and cultural organisations – Austria,
Belgium, France, Germany, Greece, Ireland, the Netherlands, Portugal, the UK
Non-formal education and hobby-related education– Austria, Denmark, Estonia,
Finland, France, Germany, Ireland, Hungary, the Netherlands, Portugal, Sweden
Community related education, connections between art and community – Bulgaria,
Cyprus, Denmark, Finland, Ireland, Italy, Slovakia, Sweden and the UK
Cultural education and life-long learning – Denmark, Germany, Lithuania and Romania
Quality of education at all levels – Cyprus, France
University education – Ireland, Lithuania, Luxembourg, Portugal and Romania.
Training and education of experts and volunteers working with youth – Czech Republic
and Poland.
Increasing competences and qualification of young people – Denmark, Germany,
Latvia, Poland, Spain
Cultural diversity – Germany, France
Special emphasis on youth culture rights – Latvia, Sweden
Other policy priorities mentioned include the importance of libraries in educating young people
(especially Denmark) and support to young artists. Connection between access to culture and
employment policies for young people is reported as important in many countries, among them
Estonia, Finland, Germany, Lithuania and Spain. Access and participation in culture is
increasing in case young people have jobs and can spend part of their free time, as well as
money for such activities.
A majority of youth policies emphasise digitalisation, development of digital resources, access
to new technologies and Internet for young people as an important way to invest in youth
development. Among them are: Austria, Denmark, Finland, France, Germany, Greece,
Hungary, Ireland, Luxembourg, Malta, the Netherlands, Poland, Portugal, Romania, Spain,
Sweden and the UK. This direction of policy development is important in terms of the way young
people spend their free time, and their interests related to activities online and the digital ways
to consume cultural and artistic products and services.
Participation of young people in decision-making and policy-making is on the top list of
youth policy priorities in Estonia, Germany, Finland, Ireland, Malta, Slovenia and Sweden. This
93
More information on national practices related to arts and culture education in schools can be found at
http://www.culture-school.net/countries.htm Last consulted on 15 June 2010
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is strongly linked with helping young people to become active citizens and to have their voice
heard in all aspects influencing their social, political and cultural life.
Several countries connect access to culture with cultural participation, which is under the
responsibilities of the Ministry of Culture and national bodies related to arts and culture. These
are: Austria, Belgium, Germany, the Netherlands and Slovakia. Improving access of young
people to museum and cultural heritage sites is especially emphasized in the national reports of
Austria and France. Investing in cultural infrastructure by building up new facilities and
renovation of spaces to make them more creative in order to increase access of youth is a
priority in Malta. Emphasising in funding policies on creativity of youth is an important aspect in
Lithuania, Malta, Slovakia and the UK.
Access to culture for vulnerable groups of the population, including young people and emphasis
on social inclusion, as well as working with marginalised groups of young people, is
mentioned as youth policy priority in France, Germany, Greece, Slovenia, the Netherlands and
the UK.
A strong link between access to culture across borders and supporting mobility and
international cooperation for youth is mentioned in the national reports of the Czech Republic,
Poland, Romania and Slovenia.
Several national correspondents, such as Bulgaria, Hungary, Romania, Slovakia, the UK and
Ireland, report that youth policies are orientated towards solving social problems concerning
young people, among which are the attempt to fight against increased criminality, AIDS, and
preventing drugs. Improving living conditions for young people and young families and the
support of housing for youth is reported by Finland, Poland and Romania.
The importance of supporting a healthy lifestyle is an issue in youth policies of the Czech
Republic, the Netherlands and the UK.
3.4.2. National policy documents and strategic plans
Policy documents and strategic plans related to young people and culture (including access to
culture in some cases) are reported to exist in the following countries:
•
•
•
•
•
The Programme of state support of work with children and youth for NGOs (2007-2010,
including cultural organisations) in the Czech Republic focuses on: professional training
and education of volunteers working with youth; education of children and youth about
healthy lifestyle, development of mobility and international cooperation (also in culture
organisations).
Estonia has a Youth Work Strategy (2006-2013), emphasising on the importance of
education, employment, health, intercultural learning, participation of young people in
decision-making, consideration of interests and needs of young people in all areas of
youth policy.
The Finnish Youth Policy Development Programme 2007-2010 requires that every
municipality develops a system of listening to young people. Among priority areas are:
fostering participation and active citizenship of young; preventing marginalisation,
education, employment, and living conditions.
The Ministry of Culture of France has a General Programme for Access to Culture –
“Transmission des savoirs et democratisation de la culture” (Knowledge transmission
and culture democratisation), aiming among other measures to make access to
museums and monuments free for young people under 25 (as of April 2009).
The main policy basis for youth affairs in Germany is the Children and Youth Plan,
which enshrines cultural education. Other recent federal plans include the National
Integration Plan (2007), which regards culture as a vehicle for dialogue and intercultural
competences, and the National Action Plan for a Germany Appropriate for Children
2005-2010, with emphasis on youth participation. The Parliament-instated Commission
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•
•
•
•
•
•
•
•
•
of Inquiry “Culture in Germany” (final report December 2007) dedicated a chapter to
surveying the cultural education field with input from the sector, and made a series of
key recommendations. The main public actors responsible for policy development are
however the 16 autonomous states or Länder.
Ireland has a National Children Strategy (2000-2010) titled “Our Children, Their Voices”,
emphasising that children will have a voice in matters which affect them, their lives will
be better understood and will benefit from evaluation, research and information on their
needs, rights and effectiveness of services.
In Latvia, the Culture and Creativity Industry Development Programme (2009-2013)
ensures cross- sector cooperation in establishment of a “culture school bag”, e.g.,
defining a certain minimum of cultural services which need to be ensured for each child
and young person. Other milestones are the State Youth Policy Programme (20052009) and the Youth Policy Guidelines for 2009-2018.
The Programme of Cultural Education of Children and Youth, initiated by the Ministry of
Culture, Ministry of Science and Education and Department of Youth Affairs in Lithuania
(2006-2011) aims at stimulating innovative methods of teaching and learning in culture,
as well as public organisations and NGOs to develop cultural education for children and
youth. Attention is paid to rural areas.
The Youth and Family Programme in the Netherlands (since 2007) focuses on: social
inclusion, cultural diversity, cultural citizenship, cultural education and participation.
Romanian youth programme is based on a Policy for Sustaining Young Generation
(2005-2008), aiming at increasing autonomy of youth entrepreneurship and business in
rural areas; involving youth in public life, support of young peoples mobility, continuing
education and professional training.
Youth Policy Action Plan of Slovakia (2008-2009) emphasises on: cultural activities for
children and youth from minority groups, support for interactive and creative events of
cultural venues, inter-connections between culture and education, and creation of
specific instruments to bring culture and arts closer to children and youth.
The latest major youth strategy launched by the central government in Spain is the
Interministerial Youth Plan 2005-2008, which has not been replaced as of May 2009.
One of the six major areas contained in the Plan refers to ‘Leisure, Culture and Free
Time’
The policy document of the Swedish Government’s Youth Policy released on 11
September 2009 declares the main goals of youth policy in Sweden to be: to give young
people genuine access to influence and welfare, to involve them in international
cooperation and to increase their participation. The Government priorities of the work of
the Ministry of Culture include the right of children and young people to culture.94
UK has several important policy documents related to youth and access to culture,
among them: Children’s Plan (2007); Developing Accessible Play Space (2003);
Strategy Healthy Eating, Healthy Lives (2008), Aiming High for Young People: A Ten
Year Strategy for Positive Activities (2007).
94
“Culture is essential for the development of children and young people. Knowledge of one’s own culture is also a
prerequisite for understanding and appreciating the circumstances and values of others.” Source: “Time for Culture. The
Ministry of Culture at Work”, Sweden 2009
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3.4.3. National initiatives and actions
The table below summarises examples of important programmes and initiatives undertaken by the governments under youth, cultural, educational or
other policies, which aim at increasing youth access to culture and cultural participation for young people. The findings are extractions from the national
reports and do not represent an exhaustive report of the national initiatives but rather a collection of actions of diverse nature.
Country
Austria
Belgium
Programme/initiative
Youth in action
e-Austria in e-Europe
Media literacy award
FLANDRES:
Aims and focus
Digitalisation of cultural heritage combined with specific programmes such as creation of the
Austrian Digital Heritage Initiative – digitalising of cultural and scientific/academic works
(www.digital-heritage.at)
Promotion of cooperation between museums and schools through the use of innovative
technology www.museumonline.at
A budget from the Flemish Ministry of Education for cultural projects in schools. Aims at
tightening relations between education and culture.
CANON Culture Cell – www.canoncultuurcel.be
Flemish Arts Decree 02 April 2004
One Euro Museums
Reading Organisation – www.stichtinglezen.be
WALLONIA:
Making possible for organisations to be acknowledged as official arts education organisations
and to receive structural funding
Flemish government gave the Flemish Museum Council a special grant to subsidize projects for
young people in museums. Everyone under 26 years old can visit a museum for 1€.
www.1euromuseum.be
Organisation (subsidised by Flemish government) that stimulates reading.
Certain museums are free for groups of young people
(since Sept 2006) (Decree Culture-School)
Introduction of vouchers for culture and sport
Stimulation of cultural initiatives in cooperation with
schools
Free museum entrance on Sundays for youth groups
and organisations
Bringing culture to school
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Country
Bulgaria
Cyprus
Czech Republic
Denmark
National Fund "Culture": Competition for Scholarships
for Talented Students
National Fund "Culture": Competition for Translation
of Contemporary Bulgarian Literature
Sponsored awards
Establishment of a School of Fine Art
Creation of the National Book Centre
Series of workshops to identify young talents (as of 45 years olds) in the field of theatre music, painting
and dance
School visits to monuments and work on preservation
Interactive displays in the museums for young people
Promotion of artistic expression in open spaces public art forms, and graffiti
Open stages for dance and music in the parks
Program for supporting integration of the Gipsy
community (MEYC)
Pilot project to develop models and methods in the
municipalities’ work with children and culture (ending
August 2009)
Aims and focus
Annual scholarships for talented students in secondary schools of arts and culture
Financing of the publication of translations of contemporary Bulgarian literature in foreign
languages
Incentives to attract private funding
Promoting Cypriot publications among youth and abroad
Expected to benefit 200 children
Raising awareness on social issues and challenges of modern life
Educational activities for the members of the Gipsy Community of their leisure time
Target group mainly children
E-museum – www.e-museum.dk
Educational portal on internet, introducing educational services: websites, online games, role
playing, educational programs at museums, conducted tours and books
The Canon of Danish Art and Culture – publication
(kulturkanon)
Launched 2006 by Ministry of Culture. Includes presentation of 96 works of art, architecture,
design, handicrafts, literature, drama art, music
“huskunstnerordning” – supported by the Danish Arts
Council
Professional artists working with pupils (6-19) at school
Year of songs 2004
National initiative to strengthen the joy of singing (MoE, MoC and Danish Radio)-targeting youth
and children
“Med skolen i Biografen”-initiative of Danish Film
institute
Taking school classes to cinema – involving 65 municipalities
Danish library Agency :Laeselyst” – The Joy of
Reading campaign – ended 2007
Best projects will be spread nationwide in the next 3 years
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Country
Estonia
Youth policy on culture
Finland
Nuori Kulttuuri (Young Culture)
Aims and focus
Support on national culture and awareness-raising about cultural heritage
Support to leisure time activities through developing youth centres
Increased information and consultations,
Gathering information related to young people and stressing the importance
of youth research
Setting up of information centres for youth and educating youth workers
Rise the employment among youth through professional training and education
The main instrument of the Youth Division of the Ministry of Education to enhance participation
in the arts. Young culture events and activities are organised by the Young Culture Office being
a part of Finnish Youth Co-Operation Allianssi and financed by the Ministry. Young Culture is
about young people’s self-motivated artistic pursuits, new and experimental culture.”
Arts education and audience development: issues in
many cultural organisations (Finnish National theatre
hiring a full-time employee to take care of these
issues)
“Myrsky” project by the Finnish Cultural Association
France
Access to museums
13-17 years old are seen as means to prevent marginalisation of youth). 3 million Euro 20082011
Since April 2009 young people under 26 can visit any museum for free
Cheque-cultures, cheques-vacancies
Leisure chequebooks used to offer special fares for young people in order to attend
performances, shows, etc.
Exist for 10 years and can be used in more than 4000 cultural structures
Youth Award in the Cannes Festival (since 1982)
Supports of festivals for young people and children
The scheme “Passeurs d’images” designed to
increase awareness in young people from
underprivileged urban districts
Encouragement of reading and writing during leisure time
Performances and film-making training-amateurs
meeting with professionals
Multimedia Education plan – launched in 2006
Envie d’agir scheme-strengthening initiatives created
and implemented by young people (11-30) in different
fields-social and cultural animation, sustainable
Concerns young people in rural, urban areas and promotes innovative projects related to cultural
leisure.
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development, international or community solidarity
Country
Germany
Voluntary Social Year for Culture
“Cultural Education ad All-Day Schools (2005-08);
Part II (2008-)
Greece
Hungary
Aims and focus
The One year voluntary placement for 16-27 years old in cultural institutions
A specific cultural education focused strand of the programme “Ideas for More! Learning all
Day”, which is run by the German Children and Youth Foundation (DKJS) and the PwCFoundation to accompany the federal government sponsored programme “The Future of
Education and Care” (IZBB, 2003-09) supporting the implementation of all-day schools in the
autonomous states. .
National Arts Competitions, e.g. “Jugend Musiziert” or
“Theatertreffen der Jugend”
The federal Ministries of Education and Research, and of Family, Senior Citizens, Women and
Youth, fund annual supra-regional competitions, which aim both to support artistic activity among
young people generally, and promote particular talent.
“Kultur macht Schule” (2004-7), “Lebenskunst
Lernen” (2007-10), “Mixed Up” (annual prize)
The Federal Ministries Education and Research; Family, Senior Citizens, Women and Youth
Affairs, and the Commissioner for Culture and Media Affairs, fun model or pilot projects to
promote cooperation between the arts and education institutions, such as Bundesvereinigung
Kulturelle Jugendstiftung (BKJ).
Kinder zum Olymp!
A youth cultural education initiative, run since 2004-05 by the Cultural Foundation of the Länder,
which combines support for projects with high-profile conferences and a competition for best
practice in cooperation of schools and cultural institutions
Art of Transmission
Programme strand of the Federal Cultural Foundation, under which projects on access to and
transmission of culture are funded, some of them specifically targeted at young people
Plan of actions to make all European cultural resources (books, journals, films, maps,
photographs, music, etc.) accessible to all.
2010 Digital Libraries Initiative
“Culture for All-Young Creators (campaign of MoC)
Revitalising archaeological spaces and museums through the modern artistic creations of young
people and encouraging greater public to visit those spaces.
Youth Entrepreneurship Support Structures project
“Together in Europe-together in Hungary”
Supporting structures in every capital region aiming to approach young people as greater
obstacle for youth entrepreneurship is the mentality and practical barriers held
by young people to start their own business
Promoting culture of Hungarian youth living abroad.
Programme for the Youth
Consolidation of the process of learning, cultural education, work and family
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Country
Ireland
Funding programmes from Arts Council:
• Writers in School scheme
• Travel and training award
• Small arts festival scheme
• Young ensembles scheme
• Artists in youth work residency
• Youth arts development award
Create – national
collaborative arts
development
Aims and focus
agency
for
Artists in schools scheme (Local authorities and Arts
Council)
Writers in school scheme (Poetry Ireland and Arts
Council)
There are many youth oriented festivals throughout
Ireland such as the -“Lights Out Festival”, “Fresh Film
Festival” – film makers under 18
Italy
The Ministry for Youth Policies and the DARC –
Direction for Contemporary Art and Architecture,
Ministry for Heritage and Cultural activities promote
joint initiatives, such as: Project “Italia Creativa –
Sostegno e promozione della Giovane Creatività
Italiana”; Project “DE.MO”; Prize “Qualità Italia
Giovani” (part of programme “Sensi Contemporanei
Qualità Italia – Progetti per la qualità dell’architectura”
GAI (Giovani Artisti italiani), an umbrella organisation
of 47 local governments and the participation of the
Ministry for Youth and the DARC – Direction for
Contemporary Art and Architecture, Ministry for
Heritage and Cultural activities
Supports artists across all art forms who work collaboratively with communities
Facilitates a professional artist to make a series of visits to a school in their community, to work
with students on a project across art forms
32 years of existence-visits by writers and storytellers to primary and post primary schools (250
writers)
Aimed at developing and fostering young people creativity
Aimed at promoting young people mobility as well as creativity
Aimed at acknowledging and sustaining the most promising young architects
GAI aims at supporting young creativity through training, promotional and research initiatives
Free entrance in all state-owned museums, galleries
and archaeological sites for EU citizens under 18, as
well as for art and art history students. Also, 50%
reduction of the ticket for young people aged18-35.
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Country
Latvia
Lithuania
Youth Culture Day (organised by Ministry of Children,
family and integration affairs)
th
Latvian School Youth Song and Dance
9
Celebration (2005)-gathering 35 000 young
participants
Latvian Nationwide Song and Dance celebration in
Riga (2008)
Education festival “Master” (2009)
Prize for the best cultural worker working with
children )2007)
Children Culture Year – 500 events for children’s self
expression
Aims and focus
Connecting young people with cultural heritage
Ministry of Social Welfare project grants for youth
centres
Encouraging youth to engage in meaningful leisure time and self expression
Programme for Support of Young Artists (2007-2015)
Luxembourg95
Malta
The Netherlands
Programme for children and youth cultural education
(2006-2011).
Construction of the Centre de Musique Amplifiée or
Rockha
Participation in EU and the Council of Europe Youth/
Culture programmes
Plan of Action Cultural Reach (2000-2008)
Educating an active and creative generation of young artists that could influence policy
development.
Developing systematic cultural education of children and youth that could increase artistic,
aesthetic and cultural skills and competences.
Making culture accessible for young people
EU programmes
Youth Specialisation Study Scheme (Council of Europe)
Financed by matching funding – 170 million Euro in 2001-2004
Goal: increase of the number of cultural participants and a diversification of cultural activities
Price decrease for young people – 0-18 years can
enter most of the national museums for free.
In 2009-new idea to make all the museums (not only
national institutions) free for children 0-12.
95
The national report for Luxembourg states:” There is no funding of cultural youth activities which is specifically visible.
The financial support of cultural activities is integrated in the general funding of youth policy and activities. For the same
reason it is difficult to retrace a change in funding policies. Though probably more resources are dedicated to cultural
activities than ten years ago.”
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Country
Poland
Programmes of the Minister of Culture and National
Heritage
“Artistic events”
Aims and focus
“Cultural education and cultural diagnosis”
Improving competences in reception and creation of artistic and cultural values, preparing
children and youth to active participation in culture, enriching leisure time
Workshops, courses and training for cultural animators, teachers
Addressing children and youth, young authors and writers
Promote Polish artists and involve young artists
“Cultural heritage”
“Literature and readership”
“Foreign funds for artistic fields” – scholarships
“Young managers in culture”
Addressing 15-25 years old interested in film, theatre, art
Scholarships for artists under 35 (exhibitions, concerts, CD records, studies abroad, purchase or
instruments)
Scholarships 14-25 years old
“Young Poland”
Developing new skills and stimulating local communities in rural areas
“Creative Valley” (scholarship project of the TVP S.A.
– Polish Television)
Portugal
Romania
Administrationn@autobus (Ministry of Interior project)
Roma community in Poland-attention on youth
The “Arts Territory Programme
Promotes mainly, if not exclusively, performing arts productions aimed at young audiences. It
gathers a pool of productions, which are then advertised, to possible buyers (mostly local
administration institutions and cultural equipments).
Construction of houses for young people
Facilitating youth integration into the labour marketco-related specialisation
“Caravan” project
Giving authority in the hands of young people
Culture versus Garbage
DIVERSFEST
White Nights 2006 project
Fight against discrimination, respect of human rights
in 14 cities, open museums, cinemas and theatre halls, shows, sports and dance
demonstrations, concerts110 000 participants totally
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Country
Slovakia
Education Vouchers
Aims and focus
Financial subsidy for out-of-school education for students from elementary and high schoolsgiven per student who frequents after school activity (17 million Euros annually.)
Financial assistance for education in the arts
Subsidy to NGOs that perform systematic work with children and youth (2.5 million Euro 20082009)
Slovenia
Spain
ADAM Grant programme
Literature projects for children and young people
Youth Creativity Programme (Creación joven)
Sweden
Creative Schools initiative
UK
Find Your Talent initiative
Educational programmes for young people and children
Recognition of emerging artists, particularly through the promotion of contests and competitions.
In 2007, Creación joven involved activities in the fields of the visual arts (including contests for
young artists in the field of the visual arts, cartoon and design, as well as a touring exhibition of
previous year’s winners and other relevant young artists, and two meetings of young artists),
music (a tour of young artists in small venues, and a meeting of young composers), theatre (an
annual contest of theatre plays) and literature (a contest).
The Creative Schools Initiative provides municipalities and independent schools with the
opportunity to apply for government funds for the purchase of professional cultural activities that
promote creativity of the young and for initiatives which is the long-term will increase cooperation
between the school and cultural life. SEK 55 million are allocated annually to this initiative.
10 cities in UK-giving all young people the opportunity and space to develop their talents and to
try out cultural activities to discover new ones, having the right to experience five hours of art
and culture a week. “unlock the creative talent of young people” –www.culture.gov.uk
Using Cultural Partnership as a key to promote access to culture
Giving young people (8-19) considered to be “at risk” positive opportunities
Positive Activities for Young people
Major national framework for work with children and young people-maximizing opportunities and
minimizing risks. 5 outcomes: being healthy, staying safe, enjoying and achieving; making a
positive contribution, achieving economic well being
Every Child Matters: A Change for Children (2005)
To put young peoples’ needs and aspirations at the centre of decision making of youth support
agencies. 4 aims: engaging young people in positive activities; encourage more people to
volunteer and become involved in their communities; provide better information, advice and
guidance to young people to help them make choices about their lives; provide better and more
personalised intensive support to each young person with problems.
Youth Matters
Young Social Entrepreneurs Programme
Youth Opportunity Fund and Youth Capital Fund
Cultural Hubs Programme
Local education and local cultural industries providing opportunities for young people to promote
learning through creativity
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3.4.4. Sub-national level
Regional and local units implementing youth policies have diverse priorities in relation to youth
access to culture. There are several main directions in regional and local policy priorities 96:
-
Support of traditional culture and folklore (dance, music, customs, local celebrations
and symbols)
Preservation of cultural heritage and museums; investing in local cultural
infrastructure, and increasing access outside of big cities
Investing in cultural industries in the regions
Bringing the issues of contemporary artistic production near to young people –
Support of local and regional festivals
Support of clubs (including sport clubs)
Cultural tourism
Support of amateur art and community art forms in relation to youth; promotion of
talented youth from the region abroad
Emphasis on belonging and identity
Support of leisure-time activities for youth
Good practices of considering youth access to culture as a policy priority on regional level
include:
•
•
•
96
Several integrated concepts on Cultural Education are being developed in Germany,
with the aim to coordinate youth, social, cultural and educational departments. The City
of Munich has developed an integrated concept for cultural children and youth work
since 1990 as a coordination forum and service liaising between institutions and
schools. Hamburg has developed a Framework Concept for Youth Cultural Work in
Hamburg in 2004, which is structurally connected to the departmental areas in culture,
youth, education, considering also urban development and social affairs. The Berlin
area has developed a Framework Concept on Cultural Education in 2008. The Land
North Rhine Westphalia has since 2005 initiated a series of structural programmes and
high-profile actions to create an exemplary regional and inter-institutional Modelland
Kulturelle Bildung.
Municipalities in Italy have introduced diverse tools for increasing access to culture: last
minute tickets, free entrance, special cards and promotions. A new project to create a
Network of Regional and Local Departments on Juvenile Policy across the country is
under construction. The Young Italian Artists Circuit is an umbrella organisation of 47
local governments with the purpose of supporting young creativity with instructive,
promotional and research initiatives.
The 2006-2011 Programme on Cultural Education of Children and Youth in Lithuania
makes a special mention of rural areas in relation to youth and culture. The Programme
for Development of Youth Policies in Municipalities (2007-2009) also puts emphasis on
the cultural participation for young people living in the outskirts of big cities.
No information available from Latvia, Luxembourg, and Slovenia.
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3.5. Civil society actors and access to culture in Europe
Having sketched out the main youth culture trends and obstacles as identified by the
questionnaires, the focus now shifts to the social actors involved in this field: youth (formal)
organisations, youth (informal) movements, private companies and the third sector (the civil
society actors).
Table 8 on youth councils, networks and important national bodies existing at a country-wide
level can be found in Annex II.
3.5.1. The role of the Private Sector in Promoting Access to Culture
The role of the private sector has been a longstanding one. Chapter one referred to the seminal
work of UK sociologist Mark Abrams who in 1959 was identifying a distinct youth market. The
role of commercial markets then has been key in diffusing (i.e. spreading) youth culture and
some might even say de-fusing (i.e. neutering) its impact, in serving up a version of what
sometimes began as alterative and independent youth cultural activity of the sort described
above in the previous section. The global context of contemporary youth culture has multiplied
possibilities for multinationals in this area. Private sector involvement was also probed into by
the questionnaire. Socio-economic and socio-cultural conclusions can be drawn from the
results. The main role performed seemed to be in sponsorship (e.g. of festivals) or as a provider
of culture via private broadcasting. If we take culture as “all that in human society which is
socially rather than biologically transmitted”... “a general term for the symbolic and learned
aspects of human society” then much of what is described in the national reports fits more
readily with the remit of “popular culture”. 97 Scott and Marshall comment “The main business of
popular culture is entertainment and in Europe and the United States (for example) it is
dominated by sports, television, film and recorded music”. Certainly defining exactly what
constitutes “culture” is a much vexed question but, in addressing the question of private sector
involvement in access to culture, many correspondents appeared to be talking about the massmarket entertainment industry.
In addressing the balance between public and private sectors most of the national
correspondents assessed that in the private sector played a more minor role than the public
sector in enabling youth access to culture even though several reports acknowledged the
growing role of the private sector in rebalancing this. The Austrian report concluded that the
private sector only plays a limited role. In the report of Bulgaria it was explicitly stated that “the
private sector... plays a role, though smaller than the public one.” The Spanish report stated:”
On the other hand, private sponsorship of the arts and culture has traditionally had a relatively
low weight in Spain as opposed to other European countries, with only some prestige-driven
operations receiving strong sponsorship support (e.g. exhibitions, festivals). The relevance of
such initiatives to young people tends to be scarce, the exception being that of brands and
companies associated with young people, such as the aforementioned companies in the field of
the new media.” However, the report continues:” Private companies in the field of new media,
particularly those in the field of mobile telephones (e.g. Movistar, Vodafone, Orange), have also
engaged in active sponsorship campaigns regarding fashionable cultural initiatives, including
festivals and concerts. It should be noted that budgets allocated to some of such initiatives have
been reduced recently, as a result of budget cuts in the context of the economic crisis.”
The report of Finland puts a figure on the public/private balance claiming that one fifth of basic
arts education is provided by private sector actors. In Germany, according to the Commission of
Inquiry the amount of private donations lies between €200 – 500m per annum (estimated)98. In
97
Scott and Marshall (2005: 132-133 and 504)
The German report states: “There is a wide range of public and private foundations, charities and business, which
support youth work structurally or on project basis. While now stagnating, private donations have become an important
part of cultural funding in Germany. As the Commission of Inquiry found, an estimated €200-500m reach the cultural
98
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Italy we are told that “private subjects and not for profit ones are quite active in this sector.” The
report of France declares “Even if public cultural policy is very important in France, private
initiatives are also active in making culture available”. In addition, the Irish report states that
“There is no specific legislation in Ireland to encourage private sponsorship of culture and the
arts but there are a series of tax breaks to encourage business sponsorship or artists and arts
organisations. There are tax breaks currently under review.”
The report from the Czech Republic explains “If we include private cultural and educational
institutions (theatres, clubs, dance or music schools) in the private sectors, their spreading of
culture is important although many of them reach the verge of cultural entertainment”. This
again brings up the vexed question of what exactly constitutes “culture”. Many countries include
commercial radio stations in their listings. The French report claims that the media “provide[s]
gateways for accessing culture”. Many of the activities described are conscious acts of
sponsorship that spread the name of the company in question to a great degree. The French
report for example mentions the Prix Goncourt des Lycéens, a book prize awarded to young
writers which is sponsored by the FNAC multimedia store. In the UK two such very high profile
prizes are awarded on a yearly basis not specifically to young people but implicitly so. The Man
Booker Prize, a major event in the literary calendar is a prize awarded annually for the best
original fictitious full-length novel. It is sponsored by the investment company Man PLC but is
still commonly known as the Booker Prize after its original sponsor the Booker cash-and-carry
retail chain. Similarly, its musical equivalent - the Mercury music Prize - is awarded for the best
album from the United Kingdom or Ireland. The prize takes its name from a former sponsor, the
telecommunications firm Mercury although it is currently technically the Barclaycard Mercury
Prize. These events prominently display the sponsoring organisation’s name while also allowing
the spread of information on cultural products in the mainstream media (both ceremonies are
televised by the BBC).
In many cases the term “corporate social responsibility” came up. The report of Romania
tellingly kept these three words remaining in quotation marks. Many of those private enterprises
who distributed funds under this banner emerge as banks. These were mentioned by Bulgaria,
Cyprus, Greece, Luxembourg Poland and Slovakia. The Maltese report contains a slightly
questioning tone in describing the supposedly philanthropic motives of the companies: “The
private sector is very active in promoting access to culture – sometimes under the guise of
philanthropic activities.” This hints at mixed motives. The French report describes “corporate
patronage or philanthropy” without being under any illusions about the driver behind this;
government encouragement and the tax regime. We are told “The law fosters this kind of
initiative... through tax exemption.” Legislation introduced in 2003 “intends to develop
sponsorship by individuals and enterprises through major fiscal incitations (sic) [incentives] and
reducing the taxation of foundations.” Companies with more than 60 persons on the payroll
should also develop work councils ('Comités d’entereprise') which have a social mission to
facilitate cultural access of employees and their family”.
Sometimes there is not a clear-cut distinction between public and private initiatives. The
Romanian report gives examples of “public-private partnership”. These include the Euro 26 card
for cultural events providing reduced admission to under 26 year olds and Student Package
sector a year in private donations. Another, important form of private investment are the private foundations, often set
up by banks or corporations, which participate actively in many of the significant projects to promote youth access to
culture. The PwC-Foundation Jugend-Bildung-Kultur has funded the influential conferences Kinder zum Olymp! and its
main publication. The Foundation of the Deutsche Bank also supports many projects facilitating young people’s access
to culture, including the education programme of the Berlin Philharmonics and Kinder zum Olymp!. Other foundations
attached to banks or insurance companies fulfil similar roles. The Sparkassen-Kulturfonds has funded key research,
such as the first empirical study on youth access to culture, but has also other projects including educational services
surrounding the international contemporary arts exhibition documenta12. The Allianz-Kulturstiftung has also supported
many different projects, from workshops over pilot projects to youth orchestras. From the non-banking sector, private
entrepreneurs or business groups have set up foundations with charitable ends. The Bertelsmann-Foundation has
supported mainly musical education and young opera singers. The Robert Bosch Stiftung, funding for example the
voluntary engagement of young people in museums, the Stiftung Mercator or the Körber-Stiftung are other examples of
foundations active in the field. More generally in the youth political field, the Foundation Stiftung Deutsche Jugendmarke
manages the funds raised yearly by the Department of Finance with specifically youth oriented stamps; the Stiftung
Demokratische Jugend supports youth and youth social work particularly in the new Länder. The Deutsche Shell AG
has for many years now financed the Shell Youth Study, a regular empirical study on the situation, opinions and
conditions of young people in Germany.”
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offering reduced subscriptions to national magazines. In Luxembourg banks sponsor and stage
cultural events but rely on publicly funded youth centres to publicise these. Indeed reduced
ticket prices to private sector cultural activities were cited by many correspondents e.g. also in
Poland and France but these discounts seemed principally to apply to those below the age of
26 or to students.
A number of reports described organisations running on a non-profit basis. These seem
particularly active in the field of cinema. Several film foundations exist in Austria and a range of
non-profit cultural groupings in Cyprus. Education was mentioned in the form of privately run
arts schools in certain countries. In the UK the motor manufacturers Rolls Royce sponsor an
artistic outlet for engineering apprentices. Further examples of private sector involvement in the
arts include providing research and marketing intelligence as mentioned in the reports of
Austria, Belgium and the Netherlands. In the UK private companies have also funded major
research projects on youth culture-related matters. The British arm of Motorola looked into
youth trends in 2001 and commissioned the academic Sadie Plant to come up with the report
On the mobile - the effects of mobile telephones on social and individual life.
The EU was initially formed as the Common Market around economic principles so it is entirely
fitting to think about the role of the private sector of economies in fostering access to culture.
Interestingly it is an area that most academic sociologists have not really ventured. For a EU
established on principles of trading relationships new challenges include the rapidly changing
employment market. The idea of the knowledge that economy has become fashionable in
recent years will be returned to in the conclusion. The landscape is changing in many ways
requiring old models to be discarded. Certainly at one level the dematerialisation of music
(download culture) seems to present new challenges for commercial music suppliers that have
at times been characterised as being in crisis. There are is a mass of contradictions in
considering consumerism and youth culture. There has been a rise in anti-consumerism in the
past decade as well as the advance of “bling” culture which prioritises designer labels. These
groupings were to some extent mentioned in the section above on independent and alternative
youth movements. They have links with environmental campaigners, anti-globalisation and
ethical living concerns. A final point worth making is that many of the companies mentioned by
national correspondents in facilitating access to culture operate on pan-European level e.g.
Orange, the mobile telephone network and Red Bull Energy Drink, however the localisation of
the avenues for access to culture offered by such multinational corporations demonstrates a
tailoring of access to suit local circumstances rather than a standardised “one size fits all”
approach, which of course is healthy in contemporary European society.
3.5.2. Civil society and its role in fostering access to culture
amongst young people
Differing definitions. Respondents were asked to describe the impact that “civil society”
organisations and movements have in fostering access to culture by young people. Here it
seemed that there was some variance in how this term was understood. The UK report took this
to mean the “third sector”, defined as primarily non-governmental institutions. The French report
names “the associative sector”. Characteristics are described alongside a definition in the report
of Germany: “voluntary, unpaid civil society”. Other countries mentioned wholly or partially
government funded programmes in their response. For the reason that people seemed to be
answering different questions and the fact that there was a relatively high non-response rate, a
table has not been completed for this question. Belgium, Czech Republic, Denmark, Hungary,
Ireland, Italy, Luxembourg, Malta, the Netherlands, Portugal and Poland opted not to reply to
question 3c which could lead one to the conclusion that the terminology may have put off
replying i.e. they were unsure of what exactly they were answering or that they opted to group
all organisations without legal structure under third sector or independent movements.
The report of Austria in this section, as in others, makes clear the distinction between “culture”
which is seen as something delivered by schools and the civil sector which is more preoccupied
with “socially responsible” activities. We are told “In general culture is more a ‘high-culture’
object which is a mark and question of good education.” An example of a venture that
potentially overlaps is the KulturKontakt “culture on wheels” project to involve the elderly in
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cultural engagement. The report states “Youth, and the society at large in Austria consider it
higher priority to put accent on the need to be aware that on the social level, there are social
issues of survival and equality which have to be faced jointly by all.”
Quantifying Relationships. The Austrian report is at pains to point out the nationally accepted
meaning of “culture” and how that has undoubtedly affected the Austrian answer to question 3c
of the questionnaire. Other respondents however talk in terms of whether the degree of civil
society influence on fostering young people’s access to culture is “high” or “low”. In Cyprus we
are told “the population that engages in volunteerism and participates in civil society
organisations is fairly low.” A figure of 85.1% is given for youth having never participated in civil
society/volunteer associations, based on academic research of a longitudinal nature dating from
2007. The report claims that, “civil society organisations are not very effective in fostering
access to young people on the island”. In Latvia “Civil society organisations and youth
organisations mostly [have] [a] passive role in fostering access to culture for young people, they
are more involved in policy planning and structural dialogue... in order to achieve their aims”. In
Lithuania “access to culture is quite underestimated in the policies of formal youth
organisations.” There seems to be an implicit statement of the weakness of the role in of the
civil society when we are told that in the case of Sweden “the state and public sectors are
principal providers of culture for young people.”
At the other extreme of the spectrum there are countries where it is claimed the role of civil
society is high. In Finland “civil society plays a crucial role in fostering access to culture for
young people.” The German report states: “Civil society organisations and voluntary civil society
engagement provide the key infrastructure and support for youth access to culture. In fact, 80%
of publicly funded measures in youth work are delivered by non-governmental associations,
organizations, and initiatives – so-called “independent providers” (freie Träger). These include
youth music schools, youth arts museums, media workshops, music associations, museum
pedagogical services, amateur theatre groups, etc.99 Many of these cannot be entirely selffinancing; they thus receive support in form of allocations (Zuwendungen) from public
authorities.100 The Bund supports supra-regional non-governmental actors, while making it
mandatory for the Länder to support the activities of both public and independent providers of
youth work; the latter here have priority. Furthermore, public broadcasters are charged to
provide cultural and educational programmes. The churches also traditionally play a significant
role, not only in the provision of cultural youth work but also through libraries, musical offers and
press. NGOs, non-profit organizations, associations and cultural institutions are thus key to
facilitating youth access to culture. Through their self-organisation and the drive of individuals,
they also often trigger change and innovation in the field. There are also an organised
representation of interests of cultural associations and institutions, such as the
Bundesvereinigung Kulturelle Jugendbildung or the Deutscher Kulturrat, which are very present
in public and policy debates101.
99
As we have seen above, different forms of youth organisations (Jugendverbände), run independently or in conjunction
with specialised adult support, are also important for fostering access of young people to culture.
100
For the legal details and implications of this form of support, see the Commission of Inquiry report (2007), p. 166 and
501.
101
The German report states that a lot of work is voluntary, unpaid civil society engagement. The parliamentary
Commission of Inquiry Kultur in Deutschland, also taking recourse to another Commission Inquiry on “The Future of
Civil Society Engagement” (2002), highlighted the fact that over 3 million people in Germany volunteer in the cultural
sector, across a wide spectrum of activities, responsibilities and structures. The engagement is such, it suggests, that if
the voluntary posts had to be replaced by full-time staff, between 370.000 and 610.000 posts would need to be filled –
worth between €9.6 and €16bn. The Freiwilligen-Survey 2007 (with data from 2004) provides further data. It registers a
general rise in engagement rates among the population, across old and new Länder, and also in migrant communities,
which translate to the cultural sector. There, 18% of the population are active, and 5.5% engaged voluntarily. Over half
of voluntary engagement is in the music sector, with the visual arts, theatre, and tradition/custom other emphases; it is
particularly older generations who are increasingly engaged. Overall, there is still a difference between East and West
Germany, with the former showing less voluntary engagement in the cultural sector. Men are still more active than
women, although the gap is closing. Particularly in the arts and cultural sector, volunteers tend to have a good or very
good education background.
This survey, the Commission of Inquiry report, and many other publications highlight the obstacles that hinder civil
society activity in culture and particularly cultural education. These range from financial instability due to project-based
rather than structural funding, a high amount of bureaucratization, funding regulations, fiscal law, and highly complex
fiscal, insurance and similar legislation. They also show that particular formation and qualification offers are still less
prevalent in this than in other sectors. In this field, the Voluntary Social Year Culture, and a similar transgenerational
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In Romania, “the civil society organisations are very important in fostering access to culture for
young people”. In the UK we are told that the “third sector provides an important role in young
people’s access to culture”. This is backed up by public funding (£7.5 million investment in
2007) and guidance from the Government’s Department for Communities and Local
Government which links the concept of “civic participation and active citizenship”.
In answer to whether civil society plays a role or not in enabling access of young people to
culture in Slovakia the answer seems to be “yes and no”. The report tells us “On the one hand
their influence is greatly restricted by their limited options and local activities. On the other... civil
society organisations are the main substitute in light of the inadequate efforts of the state”. In
Ireland there is a strong connection between Irish folk traditions of volunteerism and festival that
are largely reliant on volunteers to survive. In Spain “In spite of their difficulties, civil society
organisations and movements still play a very important role in fostering cultural participation
among Spanish society at large, including access to culture for young people. Even if their
relative strength may have diminished over the years, non-profit organisations linked to
traditional culture and neighbourhood movements organising annual festivals and festivities or
providing cultural opportunities for children retain an important role in making culture accessible
to all.102” In Slovenia the projects mentioned were co-financed by the Ministry of Culture and the
Ministry of Education. By some definitions then these would not fit the remit of “civil society”. In
Greece “civil society organisations have the power to influence access to culture for young
people”. This statement does not cite say whether involvement is “high” or “low” but suggests
that the potential is there. In Finland the overlap between state level and civil society is
mentioned. The report says “In Finland the institutional cultural sector has grown up from
activity of youth organisations: youth associations, worker associations etc.” Again we have the
relationship between the two described in the report of France which claims “considering the
right to culture for everybody is accepted and protected both by public policies and civil society,
civil society organisations generally take on a watch and warning role. They will particularly use
this warning function in areas where they do consider the cultural offer by the public policies is
not sufficient”.
Differences between different levels – governance and civil society functions. Certain
reports talk of how the relationship between young people, civil society and access to culture
exists at different levels. In Austria we are told “services provided to young people in Austria are
also spread among the national, regional (provincial) and local level and seem to be rather
complementary and harmonized.” This suggested that the resulting approach is rather
haphazard. In Cyprus there is an apparent rural/urban split. The existing civil society
organisations are seen as “located in urban areas... attract[ing] the more affluent members of
society.” Contrastingly with “urban” equating with “affluence” in Cyprus the French report
comments that often in “underprivileged urban districts... grants and subsidies reduce when
there are budgetary downsizings.” It is generally felt that such communities are poorly served. In
Germany there appeared to be a split along pre-1989 lines: “Overall there is still a difference
between East and West Germany, with the former showing less voluntary engagement in the
cultural sector”. However, given Germany’s pronounced federal system, the 16 autonomous
states (Länder) and the municipalities are the main actors responsible for youth access to
culture in Germany, with most of their work delivered through agreements with third sector
organisations, from arts schools to youth cultural centres and voluntary associations. This highly
decentralised system is what makes an overall view of the landscape in Germany so difficult.
offer, have become particularly pertinent to perpetuate and qualify voluntary work, while it remains of course subject to
the same structural constraints.
102
In comparative terms, some analyses have pointed out that the degree of participation in non-profit organisations is
lower and weaker in Spain than in other European countries. This may be the result of prevailing social values and
attitudes (individualism, competitiveness), contemporary history, lack of a participative culture, the weak position
allocated to participation in the educational system, the internal fragility of non-profit organisations, etc. Indeed, it has
also been noted that even if the number of organisations has grown over the years, the percentage of young people
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who take part in them has remained rather stable, at around 33%, a low figure according to European standards. On
the other hand, it is also worth noting that the patterns of participation in civil society activities in Spain may be less
formalised than in other European countries, this being particularly relevant in the cultural sector. Indeed, civil society
organisations have historically been responsible for the organisation and management of many traditional celebrations
and fairs, which draw large numbers of people but do not necessarily entail membership of an organisation. The degree
of participation of young people in such initiatives ranges widely, but in general terms can be said to survive quite
healthily.
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The Bulgarian report also makes a distinction at different levels although these are not tiers of
governance but instead three types of civil intervention. They are named as (i) Directly providing
access (ii) Raising awareness (iii) Researching issues of access to culture and public policy.
Manifold examples are given including the Euro-Bulgarian Cultural Centre which has many
functions from cinema sessions to debates and the Red House Sofia which organises practical
training as well as symposia and debates. An example of research exists in CTP – Cultural
Technological Park a forum which combines 20 research institutes.
Further specific examples:
• Alternative: Squatted premises in Slovenia, usually “public unused spaces” e.g. former Rog
bicycle factory, former bakery Pekarna Magdalenske Mrzese, Maribor and former military
barracks AKC Meletkova city. Functions include a variety of musical, performing, visual arts
presentations, workshops.
• Arts/ Entertainment: Malta Philharmonic Orchestra, St James Cavalier, Malta, “Candy
Bomber”, Latvia, to encourage a new generation of artists;, Swedish Radio Station for
children SR Bubbel, broadcasting classical and pop.
• Debate/research/advocacy: Bundesvereinigung Kulturelle Jugenbildung, Deutscher
Kulturrat, Germany Information – online and offline. The Austrian report names information
services (on school, work and leisure) as an essential part of extracurricular youth work. It
also names the two major national portals www.jugendinfo.at and www.ifoup.at. Numerous
local equivalents exist. 29 youth information points, which combine counselling services,
exist as a result of national legislation. Also “Alpha mobile” information services are available
in Burgenland including computers, internet access and DJ turntables. We are told that “The
above in short are all services to protect youth from the threats nowadays”.
• Political groupings: In Cyprus, according to the report, the great majority of civil society
organisations NGOs are linked to political parties. Austrian examples given include Austrian
Socialist Youth, Austrian Trade Union Youth Organisation.
• Student focused: Austrian Union of Students (AUS) and “a large number of professional and
scholarly associations, as well as several groups dedicated to the support and promotion of
various arts and sciences” also in Austria. In Malta the University of Malta along with the
Bank of Valletta established Degree Plus, a programme for students to enhance their
university qualification with additional skills e.g. units on culture and heritage (includes
museum visits) or music (where students can take up instruments and receive mentoring
from professionals). Also in Malta Koperattiva Kulturali Universitarja (KKU) annual Summer
event: Evening on Campus at University grounds to highlight student and alumni talent.
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4. TENDENCIES IN YOUTH CULTURE: A EUROPEAN
OVERVIEW
4.1. Introduction
As previously described, the ways young people access culture as users or creators, or simply
participants of a cultural experience, are various and include, apart from classic channels and
institutions, dynamic youth culture channels.
This chapter and its constituent sections provide a descriptive account of contemporary youth
cultural tendencies in Europe with specific reference to young people’s access to culture. This
portrait will be based on the information obtained from the national reports, in particular from the
responses to questions 3 and 4 in the questionnaire. Of course we are all aware that one
chapter can only begin to capture the vast number and scope of the multiple processes involved
in contemporary youth cultures - individual examples should not be seen as representing the
prevailing models in their respective countries or sectors in any definitive manner but instead, a
range of cases in a range of countries will be drawn on point towards the array of youth cultures
that co-exist in the twenty-first century Europe.
In keeping with chapter 1, a twin approach will be adopted in order to emphasise:
•
the cultural construction of youth (the ways through which cultural institutions model
young peoples lives); and
•
the juvenile construction of culture (the ways through which young people participate into
cultural life).
This section will analyse these considerations by looking at the cultural activities in which young
people are involved, mainly as consumers (in a passive way) but, also to a lesser extent, as
producers (in an active way). It will start with the relevant definitions of youth culture. As this
report has already touched on the historical contextualisation of the emergence of youth culture
trends, the focus here will be on the activities and products that mark out the juvenile access to
culture, their visibility and obstacles, and the relevant actors in the field. It is worth pointing out
that the examples used in this chapter are illustrations of existing cultural trends, they make no
claims for comprehensiveness and are not automatically related to one another but, instead
illustrate the rich diversity of contemporary youth cultures across the EU.
4.1.1. Youth Culture(s)
Attempting to mark age boundaries of the domain of youth culture(s) in any definitive sense is
deeply problematic because youth culture is in many senses bigger that youth itself. As a result
people who are not young in demographic or social terms such as pre-teens between 8 and 12
years old (at one end of the spectrum) and emergent adults after their 30s (at the other)
consume youth-oriented products and participate in youth-targeted activities in the twenty-first
century. Youth culture(s), which are at their most pure everyday practices of young people, then
co-exist alongside culture, as a whole, where institutional spaces are part of the cultural sector
spanning official culture, high arts, traditional media, etc. In fact, youth culture(s) exist in
different cultural arenas as the national reports show:
•
Institutional culture(s) can be defined as those supported by the public state
institutions (at local, regional, national and European level), in a non-profit and educative way:
Slovakia: Regular activities targeting the local community in local cultural centres strive
to connect several parties active in the area – schools, NGOs, local cultural institutions,
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and/or representatives of “alternative” subcultures. Recently, “proper” cultural institutions
have also made efforts to open up to young people.
•
Commercial culture(s) are those that are the result of the cultural industries
(media, music, fashion, market, etc.), in a business and consumption way.
•
Alternative culture(s) are in general created by some civil society actors (most
of them youngsters or young adults) in order to encourage social participation in a non-profit
way:
Poland: In Poland there are dozens of not formalised sticker art and graffiti groups.
There are also many alternative music groups that present their works mainly on and new
ones are still coming into existence. Young poets, within one’s capacity, publish poetic
volumes.
Spain: In Spain non-formal or alternative groupings exist in several fields, including
culture, yet they may be more visible in areas such as the right to housing and the antiglobalisation (or alter-globalisation) movement. Several of the latter groups may often
take resource to artistic practices (e.g. music concerts, circus performances, etc.) within
their events, parades or demonstrations, thus providing a clear connection with the
cultural sector and somehow contributing to an enhancement of access to culture among
young people.
Yet there are clear dangers in drawing over-prescriptive dichotomies and artificial binary
oppositions: youth culture has also flourished in the contested space between so-called high
culture and so-called popular culture. The Polish correspondent identified a mismatch
between what the opinions of the Internet generation were in differentiating themselves from
other youth:
Poland: Low culture predominates in the Internet, whereas high culture is identified with
art. In their opinion films, e-blogs, creations, etc. placed in the Internet by other internauts
should be considered not only as an expression of such a “pure” culture but also as art.103
Finally, from a geographical point of view, today’s European youth culture(s) are influenced by
five different territorial areas:
•
(North) American Youth Culture(s): framed through Hollywood movies,
television series, pop-rock music stars, children and teens theme parks, etc. This is mentioned
frequently in the national reports as can be seen in the following examples:
Cyprus: Cypriot young people are attracted to popular American culture (e.g. pop music
and Hollywood movies). This is clearly evident in the outings of the majority of Cypriot
youth, who flock to the island’s modern multi-screen Cineplex theatres (located in
Nicosia, Limassol and Larnaka) each weekend. Cypriot young people are drawn to other
aspects of popular (mainly American) culture. For example, the last decade has seen a
radical change in the appearance of young people living in the island, which is heavily
influenced by different fashion trends – including Goth104 and hip hop styles.
Greece: Concerning the main trends of youth culture in Greece, one should note that they
tend to arrive to Greece from abroad. Trends from the United States, for example,
specifically tend to arrive with a bit of delay, but are very much adopted by young people
in the large cities such as Athens and Thessalonica but even in rural parts of Greece. For
example, graffiti art and culture tends to be quite widely spread amongst young people,
as well as the skateboarding culture for young people who attend school. The “Emo”105
and “trendy” culture is also widespread together with whatever it represents, music,
clothing, piercing and tattoos.
103
“Studenci a kultura w Internecie”, Pion Badań Marketingowych Studenckie Koło Naukowe Psychologii Ekonomicznej,
2008
104
The goth subculture began in the United Kingdom during the early 1980s in the gothic rock scene (derived from the
post-punk genre)
105
Emo (from 'emotional hardcore') is a style of music (and related culture) which originated in the 1980s punk
movement.
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Hungary: Most young people spend their time in piazzas, malls, multiplex cinemas, and
other environments of mass culture. The basic orientation is towards the West while the
main instrument of communication tends to be the English language, although its level of
competence is not a very high one; regarding the films, for instance, 80% of cinema
tickets are bought to watch American movies.
•
Asian Youth Culture(s): The Asian continent is set to be a major player on the
world stage in market terms in the coming generations. It also influences European youth
cultures through Japanese manga comics, cartoons television series, digital game products,
music entertainments (karaoke), and Indian Bollywood cinema. The following two quotes show
Japan’s popularity in European countries.
Finland: “Quite surprisingly, young Finns are very much into Japanese pop culture.
According to a recent study, 30% of them are interested in it (Valaskivi 2009). Young
people consume Japanese comics, animation movies, video games etc. Also cultural
institutions have noticed this interest. For instance, the Helsinki City Art Museum made an
extensive exhibition on Japanese pop art in 2005. Young Finnish makers of manga were
invited along as experts, and they were involved in putting together the part exhibiting
Finnish manga and organising workshops on the topic.”
France: “We can also mention the “manga” explosion as an important part of young
people that are active readers of this kind of literacy.”
•
European Youth Culture(s): framed through performing arts, alternative cinema,
minority subcultures, cross-national cultural spaces (e.g. Russian or German influence in the
surrounding nations), etc:
Lithuania: The youth culture in Lithuania is strongly influenced by American pop culture,
expressed in a number of practices, such as fashion, music, film, consumption, drag
races and increasingly the online culture. On the other hand, the influence of Russian
pop culture is also rather strong, particularly in the capital city, where Russian ethnic
minority amounts to 14% (data from 2006) and the seaport town of Klaipeda. The
Russian television channels are available in Lithuania and Lithuanian television channels
often broadcast Russian films, shows and pop music.
Luxemburg: The youth culture products from Luxembourg’s two big neighbouring
countries France and Germany enjoy large interest and popularity in Luxembourg. This
illustrates another trait of Luxembourg’s culture and its youth culture in particular: it is at
least influenced by three cultural areas: Anglo-Saxon, French-speaking and Germanspeaking. While German or French top acts in pop/rock/alternative music used to be less
visible amidst the jungle of very successful Anglo-Saxon bands, they now attract masses
of young people, with the most notable difference being that they don’t sing in English.
•
National Youth Cultures: framed through traditional regional or national cultural
expressions, local subcultures, heritage and ecological movements, etc:
Cyprus: As is the case for most Cypriots, the relationship between youth and culture is a
political one. Young people in Cyprus carry a heavy burden of ethnic identity as a result
of growing up in a country that has experienced division and conflict dating back to before
they were even born. Even before the division of the island in 1974, the two main
communities experienced separate educational systems, with the Greek-Cypriot and
Turkish-Cypriot curricula strongly influenced by Greece and Turkey, respectively. This
distinction applied to cultural and teaching matters as well. As a result of this, and the
lasting political conflict facing both communities, culture in Cyprus has become, and
continues to be, closely associated with the promotion of ethnic identity. Any challenge to
the existing culture is countered with a regression to notions of civilisation, roots and
nation.
Spain: In Spain alternative youth movements related to cultural affairs are also active in a
number of fields, including regional and minority languages and cultures (particularly
Catalan, Basque and Galician, but also Aragonese or Asturian) as well as in the
campaigns concerning digital rights management, which have become notably active in
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recent years. Even if organisations in these fields are not solely comprised of young
people, they often have a strong youth component.
•
Trans-National Youth Cultures: framed through young migrants cultural
expressions and “borrowing” elements from elsewhere e.g. world music, hip-hop nationwide,
transnational social networks, etc:
Finland: The rise of hip hop culture in Finland has also made boys somewhat interested
in dance, even though other aspects of hip hop culture, such as skate boarding, music
and clothing, are more popular among them.
4.1.2. Youth Culture Trends
Studies of youth cultures in post-second world war academic literature has largely focused on
youth subcultures, that is, the particular historical youth groupings who gained visibility by
living distinctive and often spectacular lifestyles and operating through the public expression of
identity via music, fashion, performance e.g. mods, teds, skinheads, punks etc. Yet to overemphasise the spectacular, as widely acknowledged subcultural studies have done, there is a
real risk of negating the experience of the vast majority of today’s youth and, their very real
experiences of what can appear to be a comparison of rather mundane cultures of everyday life.
There is of course interplay between the subcultural and the everyday: trends may begin as
relatively marginal phenomena but, with the passage of time, can become a part of mainstream
surrounding society. Youth culture raises considerations of intersections between past
(conservation, history, memory), present (observation, everyday life, pleasure) and future
(innovation, new technologies, creation).
Youth Culture Trends (YCT) are the cultural phenomena experienced by young people
that can become relevant for the whole generation or the surrounding society. In terms of social
visibility, YCT could be:
•
Underground (invisible) at the beginning, when they are shared by small and located
groups
•
Emergent (visible) when they are extended over other age groups, social categories or
geographical areas.
In terms of cultural hegemony, this means that youth culture is always in between:
•
Mainstream trends (lifestyles and products shared by a majority of the population, in
demographic or political terms)
•
Subcultural trends (lifestyles and products shared by a minority of the population, in
demographic or political terms). This is illustrated in the following quotation from the German
report:
Germany: Contemporary youth culture is characterised by ever-increasing diversification.
While in terms of numbers the “mainstream” is still dominant, an extraordinary variety of
subcultural scenes have emerged over the past years: social networks or “artificial
tribes”, which provide fun, meaning and identity to their members. Cross-over and
changes from one to the other are common. The Archive of Youth Cultures, founded by
youth researcher Klaus Farin in Berlin, documents this diversity by collecting books,
dissertations, media snippets, fanzines, flyers, music and the like, which are also
discussed and presented in its (now online) journal.106
Today’s European mainstream youth cultures can be summarised in the following three big
generational trends (quoted in each case below for a single country, but relevant to the rest of
the countries:
106
See www.jugendkulturen.de. Last consulted on 15 June 2010
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Sweden: It can be argued that today’s Swedish youth differs from the previous
generations of young people because (1) the limits of the group stretched both upwards
and downwards, (2) they have better international contacts and (3) better access to new
technologies and mass media than ever before.
Today’s European subcultural youth cultures can be summarised in the figure of the
trendsetter (or trendhunter). This figure indicates the capacity of young people in subaltern
positions (without power or money) to “discover” (“hunt”) or “disseminate” (set-up) innovative
cultural and consumption trends that are then incorporated into cultural industries and
institutions. This has been in fact the modus operandi of the old juvenile artistic avantgardes
(from Surrealism to Dada), and is the today’s modus innovating of some teenage market
corporations (from Nike to Nokia).
Belgium: When the private sector is involved in the youth culture in Belgium, it is mainly in
the context of ‘youth marketing’. A characteristic of late modernity is the overwhelming
presence of marketing in all areas of the western society. Consequently, ‘youth’ has
become an important target group for marketers. This (private) organisation does
research on trends in youth culture in Belgium and Europe107.
All these trends can be summarised in the figure of prosumer, a young person (teenager or
young adult) who is at the same time producer and consumer of cultural activities and artefacts,
in the institutional, commercial or alternative scenes:
Italy: During the 1960s and 1970s most of the studies about youth cultural production and
consumption were about the so-called juvenile sub-cultures. The role of young people in
that context was that of prosumer, a word which indicated that the same person was at
the same time cultural consumer and producer (a very clear example in the musical field
was that of the so-called cantautori, singers who also wrote their songs). Today, with the
use of new media and new technologies, something very similar is happening: young
people produce and consume their own culture at the same time.
The habits of young people also experience sudden changes that mark the dynamic nature of it
as seen in this extract from the Spanish national report:
Spain: More recent factors also contribute to shape today's youth culture in Spain. Among
these are the incidence of the new technologies and their impact on the experience
of culture. When comparing data for 2008 with the results of previous studies, pointed to
an increase of the passive forms of cultural participation or consumption, as opposed to
that which required a more active, creative involvement on behalf of young people.
Whereas practicing sport and reading had been among the most recurrent activities for
young people in 2001, neither of them featured at the top of the list in 2004 or 2008. On
the other hand, 'listening to music' and 'watching TV' emerged as the second and third
main activities which young people liked (96% and 91% respectively) and which they
most often did (92% and 88%), whereas 'using the computer' was fourth among the
activities which young people most often did (74%). Overall this seems to indicate the
relevance of media and the new technologies in the ways in which culture is accessed,
and its impact on more traditional forms of cultural consumption. The percentage of young
people who never read a book increased from 31% in 2004 to 40% in 2008. However, the
same study also identified, based on previous data, a segment of roughly 20% of young
people who could be considered frequent readers. Factors such as gender and the level
of studies were directly correlated to these results.
107
A rather known youth marketing/trendwatcher agency in Belgium is Trendwolves (http://www.trendwolves.be). Last
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4.2. Public Culture
The access of young people to culture, as happens with other socioeconomic processes, is
mediated by three interactive facts, which could almost be termed as a youth cultural cycle:
production (creation), circulation (diffusion) and consumption (reception). Here young
people are not merely passive spectators, but they are active agents, incorporating their taste,
values and attitudes into the cultural scene (in the public, private and third sectors). In this
section we will have a look into the main cultural activities and products that are shared by
young people of different European countries, based on the observations furnished by national
reports. Data will be organized in five big cultural categories that cover much of the young
peoples culture producing and consuming: public culture, consumer culture, leisure culture,
music culture and digital culture.
Public culture can be defined as all the cultural products and activities offered by the institutions
of the public sector (schools, universities, museums, libraries, etc), by private operators (art
schools, theatres, art galleries, etc) and by the third sector (foundations, NGOs, etc). These can
draw on past traditions or be innovative in scope, but are considered to be part of “high
culture” and society’s education. Normally these activities are non-profit, even if not always free
of charge: this fact creates several social divisions and inequalities. The public culture sector is
usually managed by adult professionals who disseminate those products among the wider
population, following the principle of cultural democratisation. Youth is one of the target groups
who can engage in activities and products including:
4.2.1. Education
This sector includes extra-curricular learning, art schools, theatre schools, popular education,
multicultural education, non-formal learning as the following diverse examples illustrate:
Austria: culture is mostly viewed separately from youth participation issues. Culture is
rather an educational element providing a widened horizon to the young people.
Therefore, culture is provided through the educational means to the young generation,
while youth organisations and initiatives focus on preparing young people for active social
and political participation and involvement. Austria tries to export and share this viewpoint
with the rest of the EU by this particular initiative.
Czech Republic: Cultural (aesthetic) activities of children and young people have their
long tradition at základní umělecké školy (ZUŠ – basic art schools). This system of
cultural education and a possibility of long-term artistic cooperation of young people are
unique in Europe. Young people gather at art schools, leisure centres at schools and
NGOs for various activities at organised shows and festivals (there is a system of shows
of art school pupils as well as a unique system of advancement and nationwide shows in
the majority of artistic fields), at educational events, at many workshops and seminars.
The interest of young people in this kind of meeting and its outputs (concerts,
performances, exhibitions) is steady.
Ireland: In the Public and the Arts Survey of 2006 (Arts Council) 76% of people surveyed
in the report, aged between 15 and 24, said they were interested in the arts. The survey
also pointed out that the Irish people believe that a priority area for arts spending should
be arts programmes and facilities dedicated to working with children and young people.
Education remains the single most important determinant in whether people are likely to
attend arts events or not. There has been a decline in interest in high arts such as visual
art, opera, ballet, etc.
Lithuania: Lithuania has inherited a rather well developed network of arts schools and
arts educational circles from the Soviet past. The arts are integrated in the school
curriculum. In 2006 it was found that almost 50% of children in the secondary schools
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participate in artistic education circles. However, the existing art schools are described as
being “too academic, dedicated to professional training”.
Germany: In Germany, the access of young people to culture is discussed and developed
under the denominator kulturelle Bildung – cultural education. While linked to formal, nonformal and informal education systems, it also refers beyond education proper. It is
understood to ‘make participation in artistic and cultural offers possible [and] to open up
opportunities for artistic self-expression. Cultural education facilitates participation in
society.108 Its features are not only the transmission of knowledge, self-formation, social
competence and participation, but it is described as providing for the development of new
cultural producers and audiences.109
Finland: Basic education in the arts organised by municipalities, associations and private
sector actors (extracurricular activity) is an important tool for Finnish children and young
to get in touch with the arts. In 2007–2008, basic education in the arts was organised in
82% of the Finnish municipalities. The Ministry of Education supports these activities with
more than €70 million per year. In 2008, altogether 134.765 children and young
participated in the basic education in the arts in their living area. Almost a half of them
studied music, 27% studied dance and 15% pictorial arts.
Luxemburg: A lot of efforts are dedicated to extra-scholastic music education of young
people. Main actors are the public music schools, such as the Conservatoire de la Ville
de Luxembourg and the Municipal Music Schools of the larger towns. There is also a
music school run by the UGDA (Union Grand-Duc Adolphe, federation of musical
associations) as well as a lot of private providers.
The Netherlands: Cultural education remains a central issue in the cultural policy. The
Dutch Cultural Council (‘Raad voor Cultuur’ in Dutch) that advises the minister stresses
its importance (Raad voor Cultuur, 2007). The Netherlands also have ‘Schools with a
Cultural Profile’ (‘Cultuurprofielscholen’ in Dutch), e.g. schools that receive extra funding
from the government to develop cultural activities and programs.
Portugal: Cooperation with schools is clearly the main formative activity of cultural
institutions. The school system became the main receptor of actions promoted by these
institutions when educational theories started to recognise young age as a privileged
state for the forming of the identity and learning, and through the importance of personal
relationship with places and contexts of knowledge production (scientific, cultural, social,
etc.).
Slovenia: It might be worth mentioning separately that student theatres are actively
contributing to Slovenian cultural life in a significant manner by developing experimental
forms of expression in various meanings of the word.
4.2.2. Museum Culture
Whilst many have remarked that the contemporary youth cultural experience is marked by
technological advance, there are still museums that existed before the technological revolution.
They do not however exist in a vacuum and, they too have been affected by technological
changes in their own revised form and function e.g. allowing collections to be viewable on the
web and including more interactive exhibits. The sector of “museum culture” includes museum
education, art exhibitions, heritage camps, public art experiences, etc:
Belgium: Museum visits score significantly lower [than other attractions] and these
statistics indicate a wider trend that youngsters are less interested in so-called “high
culture”. One study shows that 29% of Belgian young people from 10 to 17 year olds visit
museums and exhibitions; however, only 7% list visiting museums as an activity they
enjoy doing in their free time (De Ridder & Vandercammen, 2008). Another study shows
figures around the same magnitude: 25% of young people aged 14 to 17 had visited arts
108
109
Deutcher Kulturrat (2005), p. 11-12. Translation Uta Staiger.
Commission of Inquiry “Culture in Germany” (2007), p. 379.
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museums and exhibitions in the 6 previous months, whereas 27% of this age group had
visited other museums and exhibitions (Lievens & Waege, 2005). For people aged 18 to
34, this study shows that these percentages are lower, namely 18 (arts) and 15 (others).
Greece: Young people tend to visit museums with their schools or their families, but
rarely on their own.
Lithuania: Lithuanian museums are active in attracting young people. In 2006 the
museums arranged around 7,580 educational events per year with the participation of
nearly 164,000 of school pupils. Cultural education is often given by the Philharmonic
society and theatres (2006). In 2007, ca 800,000 children visited cultural events in the art
galleries, museums, theatres, and concert halls.
Malta: The most popular exhibitions were art exhibitions, constituting 30.1% of all
exhibitions held. Craftwork exhibitions were also popular, constituting 29.0% of total
exhibitions. Ceramic exhibitions were the least popular – these made up only 6.5% of
total exhibitions. ‘Other’ exhibitions also made up 17.2%; these included exhibitions on
philately, telecards, badges, old vehicles and religious exhibitions. No details on age
groups were available.
Poland: In Poland, public art is becoming a very popular matter Students and informal
groups “decorate” cities with their works of art. There are also youth alternative
magazines focusing on art, for example “Lampa” or “HA!ART”, which publish
supplements with young writers’ works. Young people spread out, often illegally,
conceptual posters in their cities/towns. Art groups, for example the “Twożywo”, jointly
with local societies create urban wall paintings. Youth creates portals where products of
manufactures are selling (jewellery, paintings, graphics or clothes). They also organise
clothes’ fairs and exchanging of clothes, usually in clubs and cafes but also in private
apartments.
Slovakia: Several museums and galleries are preparing special programmes for schools
and young people that include interactive exhibitions, lectures, and workshops with
specialists and artists. What has been a standard part of their activities in Western
Europe has only now become a rising trend in Slovakia.
4.2.3. Literary Culture
The sector of literary culture is largely focused on the power of the written word, including
reading and writing activities: public libraries, creative writing, poetry clubs, literature circles, etc:
Bulgaria: Creative writing – there are many writing circles in Bulgaria. The leading ones
have their websites and even competitive trends and fights for leadership. There is a
tradition of poetry competitions for young people and they are well announced in the
specialized newspapers.
Finland: Young people use libraries more than the rest of the population, and they enjoy
library services a lot. Besides books, newspapers and magazines, Finnish libraries lend
CD and DVDs and offer Internet connections, all free of charge. Most of the young Finns
go to museums and theatres with their school class but not necessarily on their free time.
This might be due to the fact that, there are not so many exhibitions, plays and other
performances directed especially to the young people that deal with the things young
people find important. Going to movies is very popular among the young instead.
France: A survey on cultural consumption in 2005 has given the following results for
young people: 66% of people from 15 to 29 read a book in the last 12 months (total of
population: 58%). 96% of people from 15 to 29 listened to a CD in the last 12 months
(total of population: 75%). 88% of people from 15 to 29 listened to the radio in the last 12
months (total of population: 87%).
Ireland: According to the Arts Council Report ‘The Public and the Arts’ 2006, Reading is
a popular cultural pursuit. Females read more than males. Works of Fiction are the most
popular. The study showed that the further educated read more.
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Slovenia: Youth centres are also active in organizing evenings of literary readings and
writings, thus playing an important part in involving people and encouraging them to
participate in the process of co-creating and thus reshaping culture. There are also
publications – like weekly or monthly newspapers (run by youth centres or clubs…), in
which young people can publish their creations, from short stories to poems and essays.
All of those are usually well mixed with interviews, presentations of (youth) music groups
and information about ongoing and upcoming events, mostly parties and concerts but
also photo exhibitions, dance classes, performances and such…
4.2.4. Arts
This sector includes the practice and consumption of performing arts: amateur theatre, dance,
opera, jazz festivals, urban performances, live events, etc:
Bulgaria: Going to the theatre is popular among the young people. There are several
theatres that are famous for their alternative plays; addressing the young public by
interpreting modern authors and classic gems with youthful topics: the Youth Theatre, the
199 Theatre, among others. These theatres perform in Sofia and also travel around the
country. There is also the Sfumato Theatre that is often attended by young people who
are more demanding as regards the quality and professionalisms of the shows. With the
revival of the cinema industry and due to the active theatre industry a new generation of
actors has been developing within the last 10-15 years. Marius Kurkinski, Andrey
Batashov belonged to the first wave of modern actors. They have their famous plays (ex.
Andrey Batashov – ‘Rhythm’ Performance; Marisu Kurkinsky - Môn spectacles) recorded
by television channels and being broadcasted on TV. This generation was followed by the
generation of the first film-stars of the Bulgarian film after the big post-communist
transition period crisis Their popularity among the young people is comparable with the
popularity of the actors in TV series for young people.
Germany: What has become evident is the importance of the live event, the direct
contact with the artist, with great implications for the design of activities in the cultural
area. This is also where idols or models can motivate young people’s behaviour. That
this might be important, shows the list of cultural or artistic models named by the young
people – from the international music or film scene (Madonna, Eminem, Britney Spears,
Robbie Williams), contemporary German artists (Die Ärzte, Herbert Grönemeyer), but
also established visual artists, including Picasso and Dali110.
Romania: The main youth cultural products are in visual arts, entertainment and
performance sector. In 2009 young artists have gained nine prizes at the second
edition of “National Art Saloon” organized by the “Plastic Artists Union”. The young artists
are very appreciated in Romania and also abroad and have the opportunity to work and
travel to other countries as s the case of the groups of artists “2’26” from Bucharest and
“The Future Forecast Group” from Cluj-Napoca who have participated in Berlin in series
of artistic debates on the theme: “European Destinations; Youth chances for study; Work
and live in Europe”.
4.2.5. Traditional Culture
This sector includes the practice and consumption of traditional cultures: folklore societies, band
clubs, local feasts etc. There is evidence that in the twenty-first century the popularity of many
of these activities continues to endure:
Hungary: the share of traditional cultural activities is high during school years, and
then it decreases to around 10%.
110
Information from Jugenskulturbarometer (Keuchel, Susanne & Wiesand, Andreas (ed.) Das 1. JugendKulturBarometer “Zwischen Eminem und Picasso” (Bonn: ARCult Media 2006).
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Latvia: Most of the young people have some skills as regards traditional dancing,
singing and arts. In general, young people in Latvia, as a whole, are a dancing and
singing nation, that gathers every four years to a traditional song and dance celebration which has a wider audience than any other cultural event in Latvia.
Malta: Band Clubs have registered 27,106 members, or 7.2% of the Maltese population
aged 5-84 years, with no details on age bracket breakdown. The total number of people
involved in the parish feast organising committees in 2004 was around 2,777, whilst the
number of people that participated in the parish feast processions during 2004 was
around 7,474. In 2004, the total number of persons participating in the processions
decreased by 6.2%, from 6,349 in 2003 to 5,953. Of the 5,953 participants in 2004, 3.8%
were involved in the organising group, 80.4% participated actively in the procession and
15.8% were classified as other participants. No details on age groups were available. The
total number of activities organised by local councils in Malta and Gozo increased, from
947 in 2004 to 1,149 in 2005, an increase of 21.3%.
4.3. Consumer Culture
Cultural products and activities offered by the private sector are frequently consumer-oriented.
Such cultural expressions recall the McLuhan Galaxy (into the mass media age), and are
considered to be part of the transnational mainstream “popular culture”. Normally those
activities are profit-oriented, which consolidates several social divisions and inequalities
between classes, ethnic groups, genders, territories and generations. This sector is usually
dominated by adult owners but most of the professionals are young adults (following the
principle of McDonalization as theorised by George Ritzer). Young people constitute the main
target groups, due to the fact that young people are the main consumers of cultural products:
their access to this sector is mainly voluntary, but subject to many pressures (publicity, peergroup pressure, etc). Related activities and products include the sub-cultures described below.
4.3.1. Television Culture
This sector includes television consumption and preferences: cartoons, teenage series, reality
shows, digital channels, etc. Certain formats are popular across the nation states as can be
seen in the descriptions below:
Belgium: Listening to music and watching TV and DVDs are among the most popular
pastimes for Belgian young people aged 10 to 17, with respectively 92%, 96% and 88%
engaging in these activities. A study on young people from the province of Eastern
Flanders suggests that the average weekly time spent watching TV is 12h49min.
Numerous TV music channels in both regions (MTV, TMF, JimTV, MCM) are competing
for young people’s’ attention. Moreover, certain public service radio stations also aim to
reach young people specifically, with Studio Brussel as a notable example for Flemish
speaking youngsters and PureFM for French speaking youngsters.
Bulgaria: TV-Shows: Access from the consumer’s point of view is a combination of TVmedia and Internet. TV channels are child oriented and there have been only a few
attempts in the last years to include youth oriented shows. These proved not to be very
successful attempts mainly due to the poor contents and quality. However, there is a
tendency among the young people to be interested in high quality international modern
literature and the TV-shows dedicated to this topic manage to reach a particular reading
segment of young people Most interesting youth TV-shows are ‘A Flight Over the Night’
(about culture in general, once per week) and ‘Bar Night Birds’. Both are night shows
because of low ratings and high level cultural contents - which is considered not to be
very profitable. Yet, the shows of this kind seem to develop and at a certain point turn into
a special product of their own. They create their own brand image and change the TVchannel providers.
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Cyprus: Television and music constitute popular leisure time activities among Cypriot
youth: a recent survey on Cypriot youth showed that 74.5% watch television daily, while
83.3% listen to music every day.111 Greek actors and artists have a large following among
Cypriot youth and are often more popular than local ones. However, this has been
changing in the recent years, at least as far as television is concerned, given the
increasing number of popular local productions now available. Most Cypriot youth will be
able to discuss the latest episode of Desperate Housewives, Lost or Prison Break,
popular American TV series, which air on local Cypriot channels.
Greece: In addition, TV culture is quite prevailing in the day-to-day life of teenagers and
young people (for example U.S. TV shows like Gossip Girl, Lost, Desperate Housewives,
Sex & the City, Ugly Betty etc. are very much followed by Greek teenagers and have a
large fan base), as well as spending a lot of time playing computer games on-line and offline, devoting a lot of time and attention to their cell phones (talking to friends, sending
text messages, etc) and listening to music on their i-pods. Notably according to the
research “Youth in Greece today” that was conducted in 2005 and covered a sample of
1,600 young people from 15 to 29 years old, 93,4% of the sample use a mobile phone,
76,7% own and use CD players (this was the pre-i-pod era), 66,8% own and use a DVDplayer, 62,5% a computer and 47,8% have access to the internet112. The main youth
culture products/people are people coming out from reality shows, such as the X-Factor
(a talent show that deals with music and discovering the next star singer) or people from
popular TV series.
Hungary: Television is dominated by reality shows (especially on Cool TV) and culture is
no longer considered the way it used to be as it is mostly consumed within a specific
context of events (for example in the form of festivals).
France: There is a notable trend of emerging of a range of programmes of reality TV
focused on young people. Some of the people from those TV programmes had an
important and lasting success such as Christophe Willem or Julien Doré. But it also gives
a real fame to chorographers like Kamel Ouali (dance teacher).
Portugal: When asked about leisure time activities of young people, not surprisingly
nearly 97% stated as their main activity watching TV. This finding underlines the
importance of the domestic environment as the main space for cultural participation. As
there is a lack of spaces for interaction for young people as many as 66% reported that
they frequent cafeterias on a daily basis.
United Kingdom: Youth TV programmes such as Skins that aim to capture teenage life
and teenage culture as do US imported shows such as The Hills, Gossip Girl, 90210
which mimic many aspects of celebrity culture. Reality TV shows are still incredibly
popular, for example shows such as Big Brother, soap operas such as Coronation Street
and Eastenders, comedy shows such as Gavin and Stacey. The ways in which young
people watch TV has changed significantly, becoming much more individualised and
fragmented for example, in 2006, OFCOM found that ‘38% of 16-24 year olds watch
television over personal computers.’ Satellite and digital developments mean that young
people’s leisure activities are not restricted by fixed viewing schedules.
111
“Study of Leisure Time, Employment, Relationships, Perceptions and Problems of Cypriot Youth” (in Greek) (2007),
longitudinal research study of Greek-Cypriot youth conducted by the Research and Development Centre – Intercollege,
on behalf of the Youth Organisation of Cyprus.
112
«Η Νέα Γενιά στην Ελλάδα σήμερα» (“Youth in Greece today”) by the Media and Communication Department of the
University of Athens in collaboration with the market research company ALCO. This survey was commissioned by the
Greek General Secretariat for Youth in May 2005 and funded by the European Youth Programme.
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4.3.2. Media Culture
The “media culture” sector, for the purposes of this report, is primarily concerned with what one
might now call “old media” i.e. traditional print and broadcast forms although there are clear
overlaps with the sections of 5.6 (digital culture) onwards in e.g. the way in which all
newspapers have websites and even blogging microsites:
United Kingdom: the “quality daily” the Guardian and its “Comment is Free” section where
the readers have the last word www.guradian.co.uk/comment. Nonetheless the selected
extracts below refer to the consumption of mass media by young people via newspapers,
magazines, radio, etc.
Czech Republic: A significant tool of young culture is “mainstream” media. The main
stream of the young generation is fairly influenced by the media.
Italy: Regarding traditional media consumption, data show that 94% of young people
watches TV every day, although this media seems to be gradually substituted by
computer; 82% listens to the radio (but this figure decreased by 9% from 1987 to 2004,
also due to the Mp3); 22% regularly read newspapers and 70% declared to have read at
least 1 book in the previous 6 months. Data also show an increase of the reading rate
among teen-agers, although the same data register a great difference between the North
and the South of the country113.
Netherlands: The most popular broadcasting organisations on the radio114 are Radio 538
and Radio 3FM, which both outrank the other radio channels for the young people aged
14 to 26. Both channels bring a mix of popular music and disc-jockeys.
Romania: The main media and channels for youth culture are radio stations like “Radio
21” or “Kiss fm” with the target on young people between 14 and 21 years old.
United Kingdom: Magazines - especially celebrity magazines (and mostly related to
females) such as Heat, Now, Look and Grazia as well as more ‘teenage’ focussed
publications such as Sugar, More, Teen Vogue and Elle Girl. Community radio - BANG
radio, London, CSR Canterbury, Community Radio Fund supported by the DCMS
(government Department for Culture, Media and Sport), managed by regulatory OFCOM
are good examples of young people getting involved in radio production.115
4.3.3. Cinema Culture
This sector includes the attendance and consumption of cinema: multiplex cinemas, cineclubs,
videoclubs, etc:
Bulgaria: Movies attract high attention. There is a taste for European cinema through the
cinema festivals that take place in Sofia that are always broadly attended Foreign film
productions of small countries also attract the young public. There are cinemas
specialised on old classical movies (Odeon), modern European movies (Euro-Bulgarian
Cultural Centre – Euro-Cinema) etc. The multiplex cinemas are attended also mostly for
leisure and entertainment, but their popularity and appreciation among the young
generation ranks clearly lower in terms of artistic experience.
France: A survey carried out in 2006 gives the following results: 80% of people from 15 to
29 went to the cinema in the last 12 months (total of population: 51%). 32% of people
from 15 to 29 visited a museum or an exhibition in the last 12 months (total of population:
33%). 16% of people from 15 to 29 went to the theatre in the last 12 months (total of
113
V. Santoro, “Il progetto Giovani Libri per promuovere la lettura” in Economia della Cultura 1/2008, pp. 109-113.
RAB.Fm – CLO Luistercijfers, http://www.rab.fm/Onderzoek/CLO-Luistercijfers/, last visit: 28th of April 2009.
115
http://www.ofcom.org.uk/media/features/commradreport.
114
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population: 17%). 46% of people from 15 to 29 went to a show/concert in the last 12
months (total of population: 32%). People from 15 to 19 saw 4,6 DVD/month. People from
20 to 24 saw 5 DVD/month. People from 25 to 34 saw 4,5 DVD/month (total population:
3,8 DVD/month).
United Kingdom: Film - DVD, downloading, streaming and going to the cinema. Cinemagoing represents one of the key activities for young people, especially as in recent years
blockbuster films have targeted increasingly young audiences. This is mainly because
films such as Lord of The Rings Trilogy (2001-3), The Chronicles of Narnia (2006 -), the
Harry Potter series (2002 - ) and a number of films based on comic book heroes (the
Spiderman films [2002 – 2008], Iron Man [2008], X-Men [1999 – 2007] and Batman
[2005-2008]) are films that have primarily targeted youth audiences who could also
“consume” these texts via other media platforms such as console games, mp4 players,
etc.
4.4. Leisure Culture
This next section discusses the cultural products and activities consumed and performed in
young people’s free time, offered by the private sector (local and global leisure industries), the
third sector (non-formal education and civic associations) or by the young people themselves
(local peer-groups and subcultures). These activities can be profit or non profit-oriented, but
normally they cross social divisions and inequalities. This sector is usually dominated by young
people (teenagers or young adults), following the principle of cultural (re)generation. Young
people clearly form the focus group: the principles are that it is voluntary and for pleasure; the
key concepts are hobby and fun. These activities promote social exchanges and mobility,
including going out in the city and travelling away. Such activities and products include the
cultures described below.
4.4.1. Hobby Culture
This sector includes the passion for hobbies, practised purely for fun during free time:
entertainment, role-playing etc.
Latvia: According to the “Research on the social and political activities of young people in
Latvia” young people have a preference for pleasure and entertainment (including
cultural) activities, while social and political activities are less popular.
Poland: About 600 organisations are active in the field of ‘hobbies’.116 NGO’s that take
up cultural and art issues have such statutory scope of activities as theatre, music and
cinematography, as well as activities related to cultural animation. NGOs are mostly
located in large agglomerations. More than a half of them are located in Voivode cities.
Only 1 for 5 organisations is located in the country sites or small towns.117
Slovenia: There are many cultural activities organized by young people, from artistic
workshops to concerts, jam sessions, performances, exhibitions to festivals. In some
cases these young people have squatted some public unused spaces and started their
activities in them, converting these spaces also for their gathering and socializing places.
Such cases are the ex bicycle factory Rog Factory in Ljubljana (http://www.tovarna.org/),
ex
bakery
in
Maribor
called
Pekarna
Magdalenske
Mreze
(http://www.pekarna.org/web/?siteLang=en), AKC Metelkova city – ex military barracks,
squatted by young activists in 1991 (http://www.metelkova.org/). Metelkova is the biggest
squatted area in Ljubljana and has through years become a prime alternative space to
visit in the evening. It is a home for many clubs and organisations, some of which are run
by young people themselves, and they offer a variety of musical, performing, visual arts
116
Ed. Fatyga B., “Biała Księga Młodzieży Polskiej – dwie prawdy o aktywności. Uwarunkowania i możliwości działania
młodzieży w środowisku lokalnym w perspektywie polityki młodzieżowej Rady Europy. Raport z badań”, Warszawa
2005. On the basis of the report from the research the State Strategy or Youth 2003-2012 was elaborated.
117
Ibid
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presentations as well as workshops and debates. The active clubs/organisations or
individuals in the latter two have also been successful in finding some public or even
international funding for their activities. The Rog Factory is less organised. There are also
some other similar cases in Slovenia but they are less known and not that successful.
Sweden: During the last two decades new forms of youth involvement in culture have
emerged. Besides traditional creation that includes dance, drama and image, other
popular forms are “lajv” (Live Role Play), fashion creation, production of web based
writing and fanzines. It can be argued that current studies of young people’s engagement
in culture are not always well tuned to capture all the new forms of participation and
creation. The most important factor in leisure pass-time for the young people is fun
(approximately 95%), for approximately 61% is the expression of personality and the
status and prestige much less important (7%)
4.4.2. Dance and night Culture
This sector includes leisure activities usually conducted in public arenas: dance, pubs,
discothèques, clubs, etc during night-time hours.
Bulgaria: Dance is also a typical activity of young people in Bulgaria. Prevailingly salsa
dancing is popular, but there are numerous other types of dance studios on Arabic dance,
Hindu dance, and modern ballet, among others. These private schools flourish in Sofia
and also with smaller rates in the country at large. Often the teachers are native dancers
that come from the country that has originated the dance form. The traditional Bulgarian
dances are also reviving their popularity among the young generation, though more within
the young adults who are mostly those who are starting to value ethnic music and dance.
Greece: Young people tend to go to the cinema a lot as a way of enjoying themselves on
a Saturday night, as well as going to play videogames at specially designated stores.
Spain: One of the main factors which drive the youth culture in Spain is that of
socialisation and participation in social events. A 2008 survey of young people found
that 'going out and meeting friends' was both the activity that young people most liked
(98%) and the one that they most often did (92%).118 Although data in other European
countries would probably present similar results, this can also be linked to the traditional
form of life in the public space, which has come to embody cultural life in Spain.
4.4.3. Sport Culture
This sector includes the practice and consumption of sport: show attendance, physical practice,
competition of team-games and individually played sports.
Denmark: For many years, sports and music have been dominating the cultural scene in
Denmark. (In Denmark, sports fall under the definition of culture). Lately, new more
expressive art forms – e.g. dancing and role-plays – are gaining popularity. Dance is also
seen as an effective tool for integration of the youth with a multiethnic background. For
example, a community dance-project “Dans i Nordvest” in the northern Copenhagen aims
at improving young people’s self-esteem, and understanding of themselves and each
other though dancing.
Malta: In 2004, 454 sports organisations were operating in Malta. Football clubs were the
most prevalent, making up 19.8% of the total. Martial-art organisations comprised 10.1%
of sports organisations, while gyms and boċċi clubs made up 8.4 and 8.2% respectively.
Overall, membership of sports organisations has decreased for example from 99,236 in
2001 to 94,615 in 2004, a decrease of 4.7%. The age group 5-14 comprised the majority
of members, 20.9% of total membership in 2004. Members in the age groups 20-24 and
15-19 were next, with 20.2 and 17.5% respectively. Although not exclusively the domain
118
María Jesús Funes, Informe Juventud en España 2008. Vol 4: Cultura, Política y Sociedad (Madrid: INJUVE, 2008)
Chapter 3.
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of men, sports organisations are certainly male-dominated. In 2004, men and boys
accounted for 78.0% of all members, with football recorded as the most popular sport
among them - 44.2% of total male membership recorded as taking part in this sport.
Ireland: Sport is important to Irish youth. From the 2002 HBSC Survey, using the ages of
11, 13 and 15 only to draw international comparisons, 89.7% of Irish children reported
being physically active for at least 60 minutes per day on 2 or more days per week. Irish
children ranked 9th among all 35 countries participating in the survey.
4.4.4. Festival Culture
This sector includes participation in different kinds of festivals: theme festivals (cinema, music,
computers), festivals with a more educational orientation (science and literature), multicultural
celebrations, etc:
Austria: There is a special International Youth and Music Festival located in Vienna and is
managed by the Association of International cultural Exchange in Austria. The festival
presented recitals of great classical works performed by talented youth choirs,
orchestras, bands and musicians. This is a competitive event with awarding of prizes.
Finland: The private sector is active in organising festivals and other events, which attract
crowds of young people everywhere in Finland. For example, concerts organised by radio
stations are popular.
Italy: A quite relevant exception seems to be the phenomenon of the so-called “clever
festivals”, which in 2007 attracted huge numbers of people: young people have not
beenthe most numerous group in terms of visitors but, they are also very active in the
promotion and organisation of these festivals (Festivaletteratura in Mantua and the
Perugia Science Festival have been entirely conceived and realised by young people)119.
Lithuania: The Lithuanian young people with higher education and living in the major
cities form a particularly active cultural audience. This has been strongly reinforced during
recent years by general improvement of living standards and availability of spare income.
Especially in the capital city art house film festivals, music festivals, especially jazz and
electronic music tend to be sold out well before the performance date.
Slovakia: Organisation of various cultural festivals, especially by NGOs. In most cases,
these are multi-genre events (incorporating music, dance, art, etc.), and they are open to
active participation from youth through all sorts of workshops and discussions.
4.4.5. Travelling Culture
It is often remarked that the world has become metaphorically smaller through increased
physical mobility and overseas experiences, be this for vacation type purposes or longer
Erasmus and other type schemes. This sector includes the cultural activities related to travelling
away: cultural tourism, urban games, nature tourism, international exchanges, etc:
Bulgaria: There is a clear youth culture tendency to travel abroad in the free time. This is
a highly culturally coloured experience from the perspective of the Bulgarian youth. This
is a way to link them with the cultural life-style abroad and experience it. Since it is
experience oriented, it is viewed as more cost-worthy than the purchase of imported
cultural goods.
Poland: A specific kind of tourism develops, so called “urban games”, adventure tours,
treasure hunts. This kind of activity is not only attractive for tourists, but also for young
inhabitants of the given city.
Sweden: Swedish young people are quite well travelled, in 2007 ca 80% of them have
been abroad and 30% have been abroad at least 6 times.
119
C. Federico, “I Festival intelligenti e il pubblico dei giovani” in Economia della Cultura 1/2008, pp. 47-55.
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4.5. Music Culture
Music culture and youth culture are often referred to almost interchangeably – the birth of
pop/rock and roll was seen as a major impetus in the creation of independent post-war youth
culture(s) although, one could argue that in some senses, mass produced music is dependent
on the commercial recording industry. Nonetheless music exists in multiple forms and with the
advent of new technologies of web-dissemination, young people can release music directly via
sites like MySpace without the need for the filter of the record companies. “Music culture” for the
purposes of this report refers in a broad sense to all products and activities based on all types of
music. These activities can be both profit and non profit-oriented, but theoretically are capable
of crossing social divides and transgressing inequalities. This sector is usually dominated by
young people (teenagers or young adults) and is voluntary in principle. However as rock and roll
has existed for several decades now, arguably pop music is ageing and certain types of music
(classical, orchestras etc) may be associated with adults further up the age-scale. Furthermore,
music can become a profession as well as an amateur pursuit for enthusiasts. The activities and
products covered by “music culture” are described below.
4.5.1. Music Production
This sector includes the participation in the creation of music products: rock bands, essay
spaces, young music orchestras, electronic music, DJs, etc. It has links with debates on new
technology as a youth-enabler:
Bulgaria: The young Bulgarian pop and jazz musicians are growing in popularity. A new
musical generation has been developing in different styles. Most of them manage to
produce their albums, though their productivity in terms of quantity is much less than the
chalga120 production, since the market for chalga is still quite much bigger in Bulgaria.
Slovenia: A lot of youth culture nationwide is oriented also to music production or
organisation of concerts and music festivals. In most of student and youth clubs one finds
a wide range of musical events being presented throughout the year, featuring diverse
musical genres, which appear to be interesting for young population, ranging from
electronic music to punk revival.
Sweden: The decrease of engagement in music creation goes against the previous trend
and questions whether the developing high technologies stimulate own creation121 (Ung
idag 2008).
4.5.2. Music Consumption
This sector includes music reception and consumption: CDs, downloading, live performance
attendance, radio and TV music channels, etc. Music can be experienced in an ever-increasing
number of ways in the twenty-first century as the country reports show:
Denmark: Currently, the extremely popular talent shows on television have increased
the interest among young people for music, dance and other performing art. The winners
of the talent shows are treated as super stars.
Finland: Young Finns are very much into music. This is certainly due to the strength of
music industry and the immense popularity of such TV formats as “Idols”, but also
Finnish music education system is very extensive and of high level. Music interests both
girls and boys, so band clubs etc. are also a way to attract boys into youth clubs. Internet
120
Chalga is a pop folk music in Bulgaria and Macedonia, incorporating a blend of Bulgarian, Arabic, Turkish, Greek,
and Roma (Gypsy) influences.
121
Ung idea (2008)
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offers new ways to mix one’s own music and expose it to public. Young people also go to
rock/pop concerts more than the rest of the population (Statistics Finland 2005).
France: Referring to the main youth products, it is probable that the music sector
concentrates the major part of the cultural consumption and practice of young people in
France. Others of the preferred personalities of young people are singers such as Diam's
(rap), Christophe Maé (variety) or Abd Al Malik (slam). Illegal downloading remains a
current practice in order to get the latest products.
Hungary: Music has dominated the Hungarian young people's lives. They produce
distinctive styles not only through musical preferences, but also in their fashion, slang,
and appearance (trademark mobile phones, shoes, and clothing). Nearly 700.000 young
people attend the largest youth festivals each year, including Sziget Festival, the most
well - known and the largest of this kind.
Ireland: According to ‘the Public and the Arts’ 2006 many young people only view culture
through the medium of television and only gain information about culture through TV.
RTE is the public service broadcaster in Ireland with responsibilities for cultural
programming. ‘Capital D’, ‘Arts Lives’ and ‘the View’ are the major cultural programmes
on RTE television. These programmes are not hugely popular with young people.The All
Ireland Talent Show’ and ‘You’re a Star’ type programmes, are more popular among
young people and interactivity plays a major role in their sense of participation in these
programmes.
Luxemburg: Besides the ‘classical’ pop music channel’s impact such as MTV,
mainstream youth culture in Luxembourg is also influenced by big French and German
TV productions such as “Deutschland sucht den Superstar”, “Nouvelle Star”, “Star
Academy”, “Germany’s next top model” (where a Luxembourgish girl managed to get
quite far and turned into a star in her home country) and so on.
Netherlands: For television122 young people aged 13 to 19 watch music, cartoon and
comedy channels the most. The music channels are TMF (The Music Factory) and MTV
(Music Television) and cartoon channel Nickolodeon and comedy channel Comedy
Central complete this list. For young people aged 20 to 34 the channels aiming at this
target audience achieve their goal as well. The ‘young channels’ are Net5 and Veronica,
mostly because of the broadcast of foreign hit series, Nederland3, a public broadcaster
with particularly Dutch peculiar programs, and the before mentioned music, cartoon and
comedy channels.
United Kingdom: Music- this includes a range of activities from downloading, listening to
an Ipod, going to live gigs and concerts, listening to the radio (especially via DAB and the
internet- for example see spotify.com and lastfm.com) which has become a renewed
trend for young people in recent years.
4.5.3. Music Preferences
This sector includes commercial, subcultural or traditional music taste of young people. Again,
diversification is a key descriptor of the trends here with more and more genres and sub-genres
appearing, at what one sometimes gets the impression, is a dizzying rate:
Germany: As youth research and “youth culture guides” suggest, music is still at the
heart of many such youth culture scenes.123 Some go back a long way – hip hop (with its
three elements rap, graffiti, and breakdance), techno, heavy metal, goth and the like have
their origin in earlier decades. Others are new creations (Emos), linked to visual culture
(Visual Kei/Visus) or lifestyle principles (Straight-Edgers).
Portugal: Among the young people the preferred music styles are rock and ‘romantic
music” (“musica romantica”). More or less one of every three young people in Portugal
mentions both as their favourite music styles. In the second place we have pop and
122
123
Jaarverslag (2008), Stichting Kijk Onderzoek, http://www.kijkonderzoek.nl/, Last consulted 15 June 2010.
See Großegger & Heinzlmaier (2004), Jugendkultur Guide (Wien: öbv&hpt 2004), Farin (2006).
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Brazilian music; listened to by one of every four young people. Young men seem to
favour rock and pop music while young women listen to romantic and Brazilian music.
Only a little percentage of young people listen to traditional Portuguese music (the least
favoured of different music styles).
Bulgaria: The preferences fall into two big categories: chalga and non-chalga. Chalga is
sometimes considered as belonging to the low level of ‘culture’. However, a big portion of
the young population, especially those with fewer studies, tend to listen to this type of
music. Chalga is mostly listened to in the discotheques. Lately, the chalga and nonchalga clubs are well distinguished. The other, non-chalga, category is broader – it
includes jazz, rock, RAP (lately not so popular, though there were famous rappers
coming from prestigious high schools – paradoxically due to the origin of the style but
understandable because such students attempt to position themselves as flag bearers of
foreign waves and styles). Piano bars and live music bars are also quite popular. The
piano-bars are getting so popular that a chalga piano bar has appeared in Sofia. Revival
of the Bulgarian ethnic rhythms is a clear tendency, illustrated by the popularity gained by
Elitza and Stoyan, the Bulgarian Eurovision 2008 candidates who performed a
modernized version of Bulgarian ethnic rhythms. Young Bulgarian pop music (different
from chalga) is also popular among the population at large.
4.6. Digital Culture
Numerous products and activities have their origin in digital technologies and cyber-culture,
offered mainly by the private sector (communication companies), but adopted and adapted by
young people themselves (social networks). This sector is usually dominated by young people,
(teenagers or young adults) to the extent that some worry there is now something of a
technological generation gap. Youth is the demographic group of central importance here: the
principle is voluntary action even if via searching for information for educational purposes.
Digital culture has grown in accessibility at a rapid rate. The now widespread availability of
broadband technology, and reduced cost to participate, means that this is in present times
frequently home-located. Such activities promote social exchanges, including virtual
communities and face-to-face contacts. These activities and products are described below.
4.6.1. Chat Culture
This sector includes Internet access, email, chatting rooms, downloading, Internet
countercultures, etc. In short the need for face-to-face communication or the slow technology of
surface mail is replaced by alternative speedy near-real time channels of communication,
enabling young people to converse one-to-one or one-to-many. Several reports mentioned
aspects of this:
Bulgaria: Internet portals on culture offer two main types of services: cultural content,
and cultural news and events access. Most of them are run by young entrepreneurs.
Many of them gain high popularity such as www.programata.bg for its cultural programme
and the http://liternet.bg/ that provides a rich collection of literary works, fiction, poetry –
with a broad scope of authors – from classical to modern ones. The Internet access is
highly appreciated by the young generation. Some young authors even try to sustain their
own websites by gathering the necessary funding through Corporate Social responsibility
activities of companies – an example of such a website is e.g.: www.gogov.net What is
interesting as a tendency is that in such cases the cooperation between young authors is
relatively higher than in average in the country. At www.gogov.net for instance, the poet
provides access to other authors by letting them to publish on his website, completely
free of charge, based on mutuality of literary concepts and aesthetic values. The private
business sector also has noticed the culture and youth niche in the ICT sector.
http://www.cult.bg/ is organised together under stat.bg, econ.bg etc.; projects of a young
Bulgarian entrepreneur, Nikola Nikolov, and has a high potential for further development.
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Cyprus: New media and technologies allow young people to experience other cultures.
The use of the Internet has been increasing among Cypriots, with young Cypriots
constituting the heaviest users. The Internet offers young people immediate access to
other cultures.
Finland: The young Finns (between 15-29 years) use Internet on average 10.2 hours per
week. Besides making music, they make and expose their videos, play games, share
pictures, participate in fan groups, write blogs on fashion etc. Girls use Internet mostly for
communicating with others; boys like to play.124
Hungary: Chatting may be the most typical form of forging the cultural network; it is
especially noticed in the group under 20. E-mailing and reading various types of news
increase with the age. Entertainment, listening and downloading music are relatively
stable activities across age groups. Internet is mostly used for learning at the college age
then it decreases. More than 50% are on-line daily, while only around 26% of the young
people reads a book monthly. There is a wide range of development programmes for
young people: information and communication technology, foreign language learning,
integration in society, LLL learning.
Italy: Data show an evident increase in the use of digital media consumption, especially
related to the use of mobile phones, although in 2004 only 18% of young people declared
to know how to use a PC very well and 37% of them only quite well. This trend is
applicable especially to teen-agers and it confirms the existence of a “digital divide”
between them and the 30 year old generation, which is quite evident in the South of the
country and in the lowest socio-cultural groups of the population.
Malta: According to one study (Survey on the Use of the Internet by Students, NSO 2005),
94.7% of students aged between 7 to 16 years old use computers, while 79.1% have
access to the Internet. On average, each student spends 5.1 hours online each week,
using the Internet mostly for information search related to education and leisure. In fact,
67.5% of students who use the Internet normally use the Internet for schoolwork while
56.7% use if for leisure. Sending and receiving e-mails and downloading of music are the
next most popular activities (56.2% of students). The proportion of Internet users who
chat stands at 52.3%, while only 23.1% use the Internet to read online magazines,
newspapers etc.
Lithuania: There is no hard data, but it can be safely estimated that most of film and
music consumed by Lithuanian youth is acquired through pirate file-share websites or
bought on the black market. There is no data about the cultural consumption of young
people in rural areas. However, it can be estimated that films, computer games and
music productions downloaded from pirate websites form a substantial share of their
cultural experiences.
Poland: Nowadays, young people do not only receive and interpret cultural messages by
using the Internet but they also formulate cultural messages and place them in the World
Wide Web.
Romania: In Romania the youth culture is characterized by a high use of the new
technologies, sometimes in excess, as a result of access to the technology
infrastructure, 84% of young people have a personal mobile phone and 50,9% have a
personal computer.
United Kingdom: Internet - ‘Mobile and internet technology have revolutionised their
[young people’s] social interactions, bringing independence to, and empowering, their
communication.’ (p.6 Aiming High for Young People: A Ten Year Strategy for Positive
Activities). Social networking sites such as myspace.com, facebook.com, bebo.com,
MSN, blogging, fan forums, online news and gossip), twitter.com are amongst the most
popular ones accessed by young people.
124
Nuorisobarometri (2008)
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4.6.2. Blog Culture
This sector includes writing, reading and communicating through web-blogs, which are
analogous to on-line diaries and have implications for the presentation of self and public/ private
divides.
France: The digital culture that has emerged in the last few years (listening to music,
accessing audiovisual media) has been strongly strengthened. For the web, blogs are one
of the preferred ways to communicate among young people.
Lithuania: The main site for the interaction of young people is the Internet, mainly online
forums and social networking tools, such as Frype (www.frype.lt). At the moment blogwriting has not yet gained a particular popularity in Lithuania.
Poland: Polish blogs are on the third place all over the World in terms of numbers –
almost 43 000. Mostly teenagers write them – more than 75% of blog creators are 20
years of age or less. Most of authors are professionally active (66%), the other half are
school pupils or students. It may be stated that blogs in Poland have become an
important element of youth culture. Their subject matter is very diverse. 66% of blogs
constitute e-diaries, others are for example related to travel, journalistic, film, music,
book. On the developed photoblogs participants (including artists) place photos, films,
animations, drawings etc.
Slovenia: Internet is the first and foremost channel acting as a communicative bridge
between youth population and culture in a wider sense of the word. Blogs are an
opportunity for the young to publish their thoughts, experiences and responses to their
immediate reality and therewith participate not as passive bystanders, but as active
subjects. The interactive aspect of internet seems to have provided them with tools for
self-expression and participation, which extends beyond the triviality of “blog comments”,
but allows them to enter a creative space by publishing and thus exchanging their own
poetry, photos or other materials, related to their experiential reality in one way or
another.
Sweden: Since the 1990s, Sweden, like other Nordic countries, has been at the forefront
of the spread and use of the Internet in the EU. In 2006 25% of young people between 13
and 20 years played computer games every day or almost every day. 77% of boys played
at least once a week. Blogging is a particularly popular activity in Sweden; it has been
discussed in the media that it is girls who are most successful bloggers. However, most of
the girls’ blogs are centred on consumption and lifestyles, particularly fashion and night
clubbing. It is quite interesting that visits to the arts institutions hardly feature at all in
www.blondinbella.se, the most popular blog in Sweden, which is written by Isabella
Löwengrip. It is important to note that the Internet is used both by young people to
develop their own culture and by traditional cultural organisations to communicate with
young audiences.
4.6.3. Mobile Culture
The growth and use in mobile phone ownerships has become widespread over the past
decade. The near-universal penetration of them throughout Europe’s adult population means
that they have evolved from a luxury item to an essential tool of everyday life. Their functions
are now more diverse than to simply make and receive telephone calls. “Mobile culture” thus
includes a diverse range of activities conducted via cell-phones, photolog activities, SMS (text)
messages, ring-tone preferences etc:
Denmark: young people communicate constantly with their network via SMS, chat and
other tools – and use many of these tools at the same time. An average young person
uses several hours a day online with IRL-friends. Chat is an important tool to keep in
touch with the network of “real-life friends” as well as to hang out with “online friends” who
they have never met in-person. According to a new research by Mediarådet, 86% of 14-
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16 old youngsters have a profile on the Internet and 99% of them have their own mobile
phone.
Greece: “The Greek riots that took place in Athens and other cities around Greece in
December 2008 are a classic case of iRevolutions in the making, i.e., individuals and
networks (hyper) empowered by linking technologies. These riots were sparked after the
death of a young boy in an altercation between a police patrol and a small group of young
people in Athens. Thousands of young people took to the streets after the news quickly
spread via Facebook, Twitter and SMS and lead to demonstrations and destruction of
several government buildings125.
Ireland: A major youth culture product is the mobile phone. According to a ComReg
report in 2005 mobile phone subscriptions in Ireland reached 4.05million representing
one phone per capita.
United Kingdom: Mobile phones are very commonly used for communicating with friends
and family, creating own images, photographs etc, using the Internet, listening to music
(MP3). (www.mobileyouth.org).
4.6.4. Gaming Culture
This sector includes the consumption of videogames, consoles, digital games clubs, etc. Again
it raises some interesting questions relating to youth culture(s) played out in real versus virtual
spaces.
Belgium: Gaming is also an important pastime, with one study showing that 71,9% of
youngsters own at least one game console and that the average weekly time spent
playing games is 3h57min (Graffiti jeugddienst vzw & Jeugdwerknet vzw, 2008).
Germany: The Shell Study shows that social background is determinant for cultural and
leisure activities. Young people from “upper social strata” (a classification that remains
undefined throughout the study) are said to be particularly active in reading, with creative
or cultural activities; they are the “creative leisure elite.” Young people from socially
disadvantaged background, and particularly boys, are shown to be more likely to engage
with peer groups, computer games and TV.126 These patterns are echoed by the latest
“youth, information, (multi)media study” (JIM 2008), which raised empirical data for
young people between 12 and 19.127 It finds that the usage of Internet and computer
games, digital photography and MP3-Players has risen; radio remains an important
source.
United Kingdom: Young people in the UK are very much living in a youth culture that is
defined by their use of and access to new technologies especially the Internet as well as
music technologies such as the ipod and gaming technologies such as the Xbox, Sony
PlayStation, Nintendo Wii and Nintendo DS. Console games have become extremely
important in recent years, to the extent that since 2006 they have attracted a larger
percentage of consumers’ leisure spending than long-established cultural activities like
cinema going. Sony’s Playstation console, Microsoft’s XBOX, Nintendo DS and Wii have
enjoyed great popularity by the nation’s youth and represent a significant percentage of
young people’s leisure time.
125
(http://fullmoonfever.wordpress.com/2008/12/18/letter-from-athens-greek-riots-and-the-news-media-in-the-age-oftwitter/). Andrew Lam, writer for New America Media and author of Perfume Dreams: Reflections on the Vietnamese
Diaspora). Last consulted on 15 June 2010
126
Shell (2006).
127
Medienpädagogischer Forschungsverbund Südwest (2008).
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4.6.5. E-Culture
Whilst a-priori this term could refer to electronic culture at large for the purposes of this report,
this sector includes the active participation in net art, e-learning, etc:
Romania: An example of on-line media for youth is the publication” Youth, Pencil and
Computers” and the on-line television. These youth media are parts of the web portal
www.condei.ro sustained by the Youth and Regional Development Association
www.atdr.ro through the project: "How many colours does future have?". The project was
initially organized by the "Youth and Regional Development Association" in 2007 within the
framework of the "All Different, All Equal - European Youth Campaign for Diversity, Human
Rights and Participation" www.alldifferent-allequal.info.
Slovakia: In the last few years, the Internet has been used mainly to help photography
and audiovisual art projects. Since 2006, the very popular festival of short films “Azyl” has
been active on the Slovak Internet.
Sweden: The Royal Opera’s division for young people has established a blog which
presents the news and young people and children related activities (2009). Another good
example of providing young people with access to 'high culture' by the means of their
own computer culture was an event organised at the Concert House in Stockholm. An
orchestra played music taken from popular computer games; the event was well attended
by children and teenagers who welcomed the familiar tunes with applauses.
4.6.6. Social Networking
This sector includes interactive web-based communications platforms: Facebook, Youtube,
Twitter, etc:
Belgium: Popular social networking websites for young people include Facebook and
Netlog, with Netlog as the most popular website for teenagers and Facebook as the most
popular for older generations.
Germany: Generally, however, it is new media that gain in importance. Internet activity is
mainly centred around newsgroups, uploading of music and visuals, weblogs, chats and
online communities. Many of the latter two are German - “knuddels.de”, “schüler-VZ”,
“schuelercc” amongst others, but also MySpace; messengers and online radio are also
significant. Again, as the study shows in detail, usage functions are diverse depending on
gender and educational background.
Greece: A large majority of the organisation of youth and youth culture takes place online through interactive platforms over the Internet. These platforms include Facebook
(www.facebook.com) where young people have profiles where they post information
about themselves and events that they organize, things that interest them such as music,
book preferences etc. and Twitter (www.twitter.com), a platform that deals with the “live
feed” of a person’s whereabouts and actions.128
Latvia: Online environment serves as a platform for young people to access information
or gain new skills. As an example of one most popular web services in Latvia is
'draugiem.lv' (friends), which connects more than 2 million people and provides wide
range of web based tools for its users.
Slovenia: Ever more present phenomena on the Internet horizon are the sites, where one
can post his video or music products. In Slovenia two web portals are particularly popular
– the www.myspace.com and www.youtube.com. Apart from that, radio is a significant
128
Twitter defines itself as “a tool that permits you to stay connected with friends, relatives, co-workers and you have a
sense of what folks are up to but you are not expected to respond to any updates unless you want to. This means you
can step in and out of the flow of information as it suits you and it never queues up with increasing demand of your
attention. Simply put, Twitter is what you make of it—receive a lot of information about your friends, or just a tiny bit. It's
up to them.”
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medium also, especially the radio broadcasted for students (www.radiostudent.si), which
forms an integral part of everyday life of a big part of student youth population, and works
not only as an entertaining medium, but also as an identity constructor.
United Kingdom: Young people are also very much part of a virtual communication
culture, particularly in relation to mobile phone technology and social networking sites
such as myspace.com, facebook.com, bebo.com and increasingly Twitter.com. A study
conducted by OFCOM in 2006 found that ‘more than half of the UK’s 16-24 year olds are
using social networking sites such as www.myspace.com and www.bebo.com at least
once a week, as the “networked generation” turn their back on television, radio and
newspapers in favour of online communities.’ (www.ft.com).
Poland: the most popular community services are: myspace, facebook, grono oraz naszaklasa. Apart from the social character of these blogs, they enable wide promotion of ones
creative activities (for example myspace.com – music; flickr.pl, deviantart.com, plfoto.com
– photos; vimeo.com – films) and also offer possibilities to inform friends about current
cultural events (for example facebook.com). 129
4.7. European cultural milieus: a Continuous Dialogue
There is much rich data contained throughout the national reports in all their vivid diversity.
Their content indicates a number of tendencies and trends with wider significance than just their
national borders. Whilst being all-too-aware of the dangers of generalised one-size-fits-all
broad-brush conclusions and, attempting to apply them to all, we can summarise some of the
key emergent tendencies and trends in 10 items, as a Continuous Dialogue.
'Juvenilisation'. The extension of youth lifestyles across the life cycle means social prestige is
enjoyed by youth cultures while simultaneously young people arguably experience decreasing
social and economic power. This “prolonged youth” is translated in two symbolic words that
became the core of (post)modern culture: youthfulness and togetherness:
Austria: In parallel to demographic changes there has occurred a shift in terminology, as
the term “youth“ tends to be replaced by the trend of “youthfulness“ of a lifestyle. This
youthfulness of lifestyle is a trait accessible to both young persons and adults and is
achieved by particular mode of activity and preferences, rather than being bound with
some age characteristics. Meanwhile, the need for a certain type of a lifestyle becomes
increasingly significant among young people. This leads to diversification of interests and
activities, and overall more dynamic social behaviour of young people. Another
interesting tendency is the occurrence of a special set of new skills that require the new
technical literacy. These skills seem to be more easily acquired and improved by young
people. However they are related to activities concerning all spheres of socio-economic
activity. Therefore these seem to become just the desirable skills, which tend to be more
frequent with young people. This situation requires specialisation on one hand and
flexibility towards the ‘youthful skill’ possessors on the other. Thus youthful skillpossessing people are provided a setting, which answers to their aspirations for a
particular lifestyle.
Hungary: The idealisation of youthfulness in clothing and way of life goes together with
the condition of prolonged childhood and youth, extended dependence on one's
family, the lengthy education and lack of employment.
Acculturation. The extension of youth leads to another generational trend: from high to popular
culture, from handcraft to high tech, from juvenile to cross-generational, etc. That is the
extension of the concept of culture over areas that traditionally have not been considered as
part of the cultural sector. This is related to the everyday life of young people, including the
129
“Motywacje, zachowania i poglądy autorów i czytelników blogów – raport z badania ankietowego przeprowadzonego
przez Blox.pl i Geminius S.A” (2007)
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acculturation of youth (to be seen as a lifestyle more than as chronological age or as social
condition):
Netherlands: Dance and pop music festivals are attended because they give people a
strong experience of togetherness. Culturally and socially controlled behaviour and
dress code are indispensable. In modern patterns of youth communication, individual
freedom is closely intertwined with social networks. These networks are characterised by
informal behaviour and a high degree of equality in human relationship.130
Germany: When it comes to cultural activities, nearly half of the respondents practice a
cultural hobby, if forms such as break-dance and graffiti are included; 34% are active in
the more traditional sense – playing an instrument, drawing, or theatre. Around 22% of
those have been professionally instructed at least once. In comparison with earlier data, it
is particularly the visual arts, including design, which has experienced a surge. Generally,
young people are also shown to be extremely busy, often doing sports also and using the
computer as leisure activity, as well as schoolwork or studies.
Ireland: The ways in which people are interacting with the arts is changing. Young people
use mobile phone technology and the Internet. Internet use mainly surrounds social
networking sites such as Bebo and Myspace, U-Tube and Facebook. Use of these sites
is changing the way young people are sharing information.
Commercialisation. Extension of cultural products and activities through the teenage global
market of commodities:
Czech Republic: The most outstanding trends in value orientations of today’s youth show
the rise of the importance of the economic prosperity; a career as a means for acquiring
property; material values and sensual life and its experiences. On the other hand, the
importance of the quality of life keeps decreasing while the importance of sensual life and
material values are increasing. The importance of property and spare time activities
keeps rising according to interests and hobbies. 131
Germany: Whether as mainstream or in a subculture, three factors strongly influence
young people – the trend to individualisation, the mediatisation of everyday life, and
commercialisation. While the pressure to have certain technological gadgets or outfits
might increase, there is also a backlash by young people to the instrumentalisation of
their tastes by commercial culture.132
France: As statistics show, young people in France are big culture consumers. Some
activities are practised in an intensive way such as listening to music through CD/radio or
using a computer and the Internet. Nevertheless their use remains very diverse as their
practice is above the average of the global population for all activities, except for going to
the theatre or visiting a museum where they are similar to the global population average.
Sweden: It has become acceptable to consume luxury goods and to flash out one’s
luxury lifestyle in public; this is something new in a society that so far has based itself on
a moral value of “lagom” (a colloquial expression which denotes being average, striving
for moderation in all spheres of life).
Prosumerisation. Simultaneously, there is an alternative trend that leads to an active cultural
citizenship, summarised in the figure of the “prosumer”: a young person being at the same time
producer and consumer of culture. Here Culture appears as an economic niche and young
people as entrepreneurs:
Denmark: In general, young Danes are independent and want to be in charge of their
own free time. They want to decide how to use their time and what activities they want to
be involved in. They try different things and move fast to another if the activity does not
130
Smithuijsen, C., Youth culture and cultural policy in the Netherlands,
http://www.boekman.nl/documenten/2004_smithuijsen4.doc, last visit: 30th of April 2009.
131
A concept of state policy for the field of children and youth for the period 2007-2013.
132
See literature cited in footnote 20, or Zinnecker (2001).
Amsterdam,
2004,
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live up to their expectations. The young people are rather active than passive users of
culture – they want to be involved in planning and producing their own activities.
Hungary: Many critics of the cultural phenomenon have declared that "freedom" has not
brought more and better culture to the Hungarian young people - more time is spent in
front of the TV, and there are growing differences between the intellectuals and those
related to culture. Yet, the production and consumption of culture by the young people
has new forms, trends and audiences.
Individualisation. Extension of young social categories in terms of personal identities, based
on difference rather than viewing youth as a bloc category which many subcultural studies
tended to do:
Finland: Youth researchers see the current (post)modern youth culture in Finland as
highly individual and commercialised. At the same time, young people are looking for
authenticity and trying to be “just oneself”. Besides homogenous subcultures, the
importance of smaller peer groups consisting of heterogeneous individuals has risen.
Young people make more and more new acquaintances online, and these might be as
important as their contacts in “real life”. It has been stated that political and ideological
activism would have been replaced by participation in cultural and virtual communities.
Czech Republic: Today’s young generation is more oriented on the development of
theirown ego; on themselves. A significant trend in cultural direction of the youth is a
decreasing impact of any social spiritual systems – secular or religious and spiritual. Their
importance has been decreasing since the beginning of the 1990’s.
Denmark: The young people in Denmark are described as international, individualistic,
egoistic but, at the same time very dependent on their network.
Fragmentation. The diversification of youth culture trends into different heterogeneous scenes
and tribes:
Bulgaria: There are three main forms for youth access to culture and participation
referring to two different age categories. Firstly, the educational preparation of young
people (both formal training in art and culture schools and out-school education) in the
younger age category, (when still at school). This refers also to the role of chitalishte133
which provide access to culture for young people who are still mostly in the school-age
category. Secondly, outside the educational (school and out-school) activities, for young
people beyond educational age, there are two main channels for young people to access
and participate in culture: the TV-media and musical artistic life. The most direct access
to cultural activity is the musical scene. It is a relatively low-budget artistic undertaking for
the youth. Thirdly, working young people carry out their cultural involvement through
leisure and entertainment services and goods provided by public and private enterprises
in the country. Lots of cultural access needs are satisfied by private enterprises – private
dance-class houses, music clubs, private galleries etc.
Germany: The trend to cultural differentiation also affects the access of young people
to culture. In 2006, the first empirical study on the cultural tastes and habits of young
people between 14 and 25 was published by the Centre for Cultural Research (ZfKf), due
to the immense interest in this the field.134 Against public perception, it showed that a not
insignificant number, around 28% of young people, are culturally active. Young people
even tend to be more interested in the culture of their region than adults. 83%
participated in a cultural offer at least once, 67% over the course of the previous year.
The definition of culture given by young people is interesting , with the majority defining it
anthropologically – as the culture of countries or people. Theatre, music and visual arts
are also understood as “culture”; film, musicals and literature less so. Taking recourse to
previous studies, the ZfKf shows that the visits to contemporary arts exhibitions in this
133
134
See definition under 6.3.3
Keuchel & Wiesand (2006).
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age group have even doubled over the past decade. 25% of young people express a
general interest in literature, while activities are lower in this area.
Luxemburg: Youth Culture is still somewhat segmented between social and ethnic
groups, gender, and age groups. Education has an influence both on access and forms of
cultural participation.
Globalisation. The twin processes occurring simultaneously with globalisation (the realisation
of inter-dependence, decreasing of distance due to communications technology/ travel and
spread of new international power-blocs) are tendencies of localisation (emphasis on and
interactions in immediate surroundings and environment). While many critics of globalisation
fear that it will lead to a flattening out of cultural difference and nightmarish world of
standardisation (or worse still: Americanisation), in globalisation the worst excesses of cultural
domination at a macro-level is tempered by an emphasis on culture at a micro-level:
Germany: Some observers note a disquieting “normalisation” in terms of young people’s
apparent lack of political or defiant behaviour – instead of subversion and rebellion, they
find self-performance, rituals and the “event” have now become important features of
youth life. While these trends are generally acknowledged, young people are still active in
different kinds of engagements, even if often local, short-lived or with particular aims.135
Greece: There is an element of generalisation but as we are talking about mass/popular
culture, the phenomena of too much television, the Internet and computer games are
apparent in the development and behaviour of the Greek youth of today.
Luxemburg: Youth culture in Luxembourg is becoming more globalised. Asian youth
culture products for instance are not unfamiliar to young people in Luxembourg today.
Just like in other western countries, Luxembourg’s youth culture has been modified by the
possibilities of new media and means of communication, for the better, and for the
worse. On one hand, there are a number of popular concert halls such as the “Atelier”,
the “Kulturfabrik”, the new “Rockhal”, where people have the opportunity to listen to
famous international pop and rock bands. On the other hand, there is also a huge
production activity of young people gathering in more or less ephemeral bands where
they often choose to express themselves in English while some dare to do so in
Luxembourgish. Some of them actually reach real popularity.
Transculturalism. This term refers to the production of youth identities from the periphery and
the hybridisation of youth cultures (the processes of 'bricolage' with cultural products and
meanings from different social and geographical origins). Here are illustrative excerpts from
Cyprus and Latvia:
Cyprus: International students who study at private colleges and universities on the
island – typically these students are from China, India, Pakistan and Cameroon – have in
some ways contributed to the changing social and cultural fabric of the Cypriot society.
These foreigners can usually be found congregating in town squares. In the capital
Nicosia, an area in the old centre of the city has been transformed into an Arab town, with
shops and restaurants selling oriental music, clothes and food (e.g. kebab and
shawarma).
Latvia: Most of the youth culture trends are not anymore national or local based, but are
reflections of processes on a wider area – Europe or the world. Many of those are
introduced to young people as “fashion” and become part of their lives for a certain period
of time, while they are in transition from childhood to adultness.
Empowerment. Examples exist where culture appears as a tool in the fight against any form of
social discrimination (racism, sexism and ageism). Here, simultaneously, is firstly the extension
of power relations based on the unequal access to cultural activities and secondly the extension
of culturally based empowerment experiences promoted by juvenile public institutions or by
juvenile groups without power status in the official-formal sense:
135
Farin (2006),;Zinnecker (2001); Lau (2005).
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Austria: Because of the development of the Austrian population’s age structure and
especially because of the drastic decline of the share of young people in the total
population, issues impacting on youth are considered of increasing significance. The
empowerment of young people is considered especially relevant in terms of their
involvement in politics. This empowerment is planned to happen after a re-design of
funding mechanisms for extracurricular youth services. First, this supposes better basic
funding and commitment to quality. Second, it requires the creation of an official youth
representation structure. Consequently, these are the directions towards which the
Austrian state and society put efforts with regard to youth.
Digitalisation. The extension of cyberspace practices in almost all the social dimensions of
everyday life of young people is a key driver of contemporary youth cultural creation and
consumption. Off-line and on-line worlds are more and more related, and underscore the key
role, form and function of youth cultures in general, and young people in particular as cultural
pioneers. The access of young people to culture is not only mediated through digital
technologies, but it is also intermediated. For young people, digital culture is not only the
medium; it is also the message, to paraphrase the famous quotation of the Canadian sociologist
Marshal McLuhan in the 1960s. The following claims from the reports of Denmark and the
Czech Republic are illuminating in this regard:
Denmark: Cultural activities are moving online. For example, the most popular online
meeting place for Danish youngsters Arto.dk has book clubs where different books are
debated and recommended. Opportunities for online cultural activities are fascinating,
easy and not bound to time and place: a Dane can make music together with a person
from Germany via Internet. At the same time, the number of young people taking part in
long-term activities is falling. Traditional associations and organisations are experiencing
a decrease in their memberships. It seems that many young people do not want to
commit themselves to certain times and rules. They want to decide themselves when and
how they practise their interests and hobbies. In addition to online culture, also street
culture is gaining popularity.
Czech Republic: New technologies – computers, the Internet, cell phones and
interconnecting media to a form of multimedia essentially shape the young generation
nowadays. This generation of youth is also a basis subject of computerisation of the
society and the transfer of the society into a digital age. There is digitalisation of living
space and lifestyle of young people that is characterised by particular technologies or
generational mutations of these technologies. A young generation is often called “the online generation” (not only in the Czech Republic). Living space of youth today keeps
widening to European and global proportions. This tension takes place mainly in the
virtual world. Virtual and media reality expels the vital part from living space of a person.
In the field of education, e-learning acquired an important position among young people.
4.8. Final Commentary
Many of the categories in the continuing dialogue spelt out above, cross-cut one another.
Prosumerism, where the differences between consumers and producers blur into one another,
is listed under “economic” but it also has great technological implications. The world of web2.0
allows blogging, Twittering and Facebooking: channels of communications largely utilised by the
young, where they actively create content while being the consumers. Fragmentation appears
as a social category but it is also a territorial trend that feeds into globalisation, as old
established geographically-bonded groupings give way to new virtual communities at times
formed around sometimes highly localised issues. Digitalisation is also implicated here, a
tendency often associated with individualisation. In short, youth culture(s) in the twenty-first
century can be described as nothing short of multi-faceted. Scott and Marshall136 explain that
136
Scout and Marshall (2005, 708)
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they are “explained by factors in the experience of adolescence, or by the manipulation of
young people’s spending and leisure, through advertising and other mass media”. Youth can
also more than ever subvert received norms with the paradigm shifts of new media and express
themselves through means that by-pass old systems. A key example is in the music industry:
young artists releasing music directly to fans via the web negates the need for classic top-down
hierarchies and the “gatekeeper” record companies. This democratising potential can spread to
process issues of civil society campaigns e.g. e-petitions. The identified trend of digitalisation is
an unstoppable force that can be harnessed for good.
Compared to the USA, Europe is seen as a domain of culture, and Europeans a people who
could be considered as “cultured”. English, French, Spanish and, to a lesser extent, Portuguese
are major global languages that have been exported worldwide through the medium of empire.
Sometimes these cultural exports have been seen as under attack from cultural pollutants and
have had to be fiercely defended – an obvious example is the French 1994 'Loi Toubon' which
aimed to replace Anglicism in the French language (e.g. le walkman, le weekend) with French
equivalents (le baladeur, fin de la semaine). At the same time, hip hop appears to be for some
groups a new lingua franca that can be adapted and adopted in localised circumstances to
articulate social, cultural and political concerns by the youngsters in Europe.
The twenty-first century Europe exhibits a high degree of hybridism and intermixing exists
between cultures, including non-western examples e.g. 'couscous poulet' as an alternative
national dish in France or chicken 'tikka massala' in the UK (respectively the product of
Mahgreban and Indian sub-continental immigration, themselves explained by post-colonial
relations).
The rise of individualisation – amongst our “social” category in the Continuous Dialogue – can
also be linked to the decline of traditional institutional structures. Neilson137 described this as the
“continuously expanding degree of separation of individual from their traditional ties and
restrictions.” A well known theorist of individualisation, Ulrich Beck,138 has observed “as a result
of shifts in standards of living, subcultural class identities have dissipated, class distinctions
based on traditional support, processes for the diversification and individualisation of lifestyles
have been set in motion”. From the survey data it is notable that religious beliefs and the power
of the traditional Christian church appear to have loosened their influence on the lives of the
young people. In former times they might have been expected to play a key role in access to
culture at the same time, the reports demonstrate that student unions etc still are a powerful
voice. The popularity of pop festivals also suggests a certain degree of collectivism.
Although a common cliché referred to when talking of youth is that of “generation gap”, the
reports have shown that dynamics and relations between the generations are forever shifting.
Even if youth are not the greatest possessors of material wealth, they are by far the most
advanced generation regarding their mastery of technology and capability of processing
information to perform services such as civil society organisation/ social activism and accessing
culture. The decline of deference reflecting in falling popularity of institutions once seen as
demanding loyalty (Church, ballot box, monarchies), which has resulted in cynicism, can also be
seen as a good thing. It indicates a new importance of critical media literacy, enabling youth to
decode and debunk messages pronounced from on high. Of course youth are a vast category,
about which there is no clear agreement regarding numerical boundaries. What applies to the
technologically sophisticated educated elites may not be as relevant to the young displaced
Roma community or disaffected British-born young Muslims. Common problems have been
identified that need urgent addressing – noteworthy is the sense that young people are not
taken seriously and that they have been frequently perceived in hysterical and alarmist ways in
assessing “visibility”. At a time of increasing uncertainty against a backdrop of economic crisis
however, the youth of the 27 EU member states dealt with in this study are displaying a
remarkable resilience and adaptability. Not all of them may be aware that the year 2009 was the
European year of innovation and creativity or that 2008 was the European year of intercultural
dialogue but, knowingly or unknowingly, most are demonstrating these ideals through everyday
lived experience in their own ways as bit-players in the vibrant mosaic picture that makes up
contemporary access to culture of young people in Europe.
137
138
Neilson (1993, 16)
Beck, Ulrico (1992, 29)
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5. OBSTACLES FOR YOUNG PEOPLE’S ACCESS TO
CULTURE
Barriers to participation in youth culture(s) can be imagined or real but either way they serve as
a block on future participation among successive generations if they are not lifted. Obstacles to
participating (i.e. point of entry), and fully benefiting from the possibilities offered becomes a
vicious and self-perpetuating cycle.
When considering obstacles to cultural access again the questionnaire data provides an
illuminating set of responses. Data must be treated with caution given the subjective nature of
the question “what is your interpretation of the central challenges for young people that keep
young people from participating in culture”. The following chapter will attempt to draw some
general patterns from the national correspondents' perceptions.
It has often been said that youth when considered through the prism of academic youth studies
and by policy-makers are often treated as a problem and thus approached in problem-solving
terms. The word “challenges” as demanded in the questionnaire sent to national
correspondents (question 4d) is a more potentially neutral word than the more pejorative one
“problems”. The question implied the considerations of barriers to full cultural participation.
Many respondents went further in suggesting ways of rectifying such shortcomings. The
Austrian correspondent named the twin forces of globalisation and migratory flows as an
“interesting challenge”. Indeed this backdrop of population churn is a factor in many of the 27
Member States. In response to the question 4a on visibility the Lithuanian correspondent
described a shrinking population that has reduced by 3.9% since 2000. The government is now
addressing the resulting process of “brain drain”.
5.1. Time and Money Constraints
There has been public media discourse in recent years about the accelerated cultures that we
live in where temporal relations are sped up. The so-called 'Google' generation are the most
best informed and educated ever, yet they are persistently accused of being apathetic. A sense
of this climate of accelerated demands and the crowded young lives that are the result is
palpable in the reports. “Time” is mentioned as an obstacle by reports including Cyprus,
Greece, Latvia and Poland. The UK report also hints at similar issues. It comments on how time
pressures and working environments can have an impact on familial relations and, observes
that as well as rising single parent households: “more young people are living with parents who
both work full time [which] has significantly restructured the time spent with parents. Some
parents are what might be described as 'time poor/cash rich'.”
Price and cost implications of participating in cultural events was another recurrent theme.
These were mentioned in passing by the author of the Belgian report who said that price “can
be an obstacle” but amongst other barriers; it is one factor from a longer list. In Lithuania “low
income is a significant factor that limits cultural consumption”. This is quantified. On 2007
figures average household monthly spending per head was 657 Lita of which 41 Lita has been
apportioned for cultural activities. This amount barely covers the cost of one CD or two cinema
tickets. In Bulgaria finances were mentioned on the level of central funding. The report draws
attention to “lack of financial support for establishment for establishment of youth organisation in
Bulgaria”. In Germany the Jugendkulturbarometer reveals that when asked to detail what could
be done to improve their access to culture; young people who were not culturally active
mentioned particularly the lower costs of tickets (54%) and more youth-friendly informal
environment (37%). In Portugal there are clear regional differences on how much money
families and young people spend in cultural activities.139
139
People in the Lisbon area use almost twice as much money on cultural activities than people in other areas.
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In the report from Malta price was named again as a factor in terms of “admission fees” in a
sentence alongside dress code and lack of promotion. Finances too were named as a
prohibitive factor for those in school-age. The Finnish correspondent describes these as “socioeconomic” barriers. The Slovenian correspondent makes the assertion that high culture events
(ballet, opera, and classical music) are expensive to attend at the outset but that concerts,
theatre and exhibitions are also surprisingly costly for the young. The UK report mentioned cost
and how this can be wider than simply admission charges. Some young people were being
prevented from attending events ostensibly free of charge due to transportation charges to get
there. In the words of the report “money to get to these events might be an obstacle for some
young people even if it is just the bus fare”.
5.2. Attitudes
(i) Of young people themselves. Whilst “money” and “time” are both tangible, quantifiable
commodities, some other less concretely definable factors that came across included attitudinal
reasons. In Cyprus it appears that there is a lack of prioritisation. We are told, “[Al]though most
Cypriots regard culture as an important part of an individual's personal life, it does not seem to
make up such a big part of their lives in practice.” In the case of Finland we are told, “Problems
arise when young people feel alien in the society they are living in”. This can take many forms.
The Finnish report mentions a range of subcultural groupings, which have been formed to
mitigate for this including the goth and cosplayer140 movements. These groups operate outside
official structures and “might carry deep personal and cultural meaning for the young people
even though adults could not see it in that way”. This does not necessarily mean that these
young people are alienated from the society and can actually feel a strong bond with their
reference group but a certain distance from the adult-world as such. This implies something of a
generation gap that has been enduring in the academic discourse and popular commentary on
youth culture for many years.
The Greek report talks of the distance or credibility gap between top-down organised activities
and more self-generated youth cultures described as “apathy of young people towards
participation in anything public” which is in part grounded in perceived corruption in officialdom.
In Belgium too we are told “Cultural institutions and more in particular museums are often
associated with authority and paternalism”. The UK report muses “How do you mobilise young
people if their parents don't see the worth or relevance of 'culture' beyond their own
communities?” Attitudinal feelings then can intersect with generational perceptions. Another
sense that one gets is the divide between high culture and popular culture. Many feel that the
first category is just not for them. The Luxembourg report makes this point well and its
observation that upbringing and attitudes held by families can condition young people's
participation in activities, such as art galleries and museums, is also made by the UK report
which cites that these can be seen as elitist.
((ii) Of officialdom vis-à-vis youth. Inter-generational attitudes are also a feature of the
reports. This comes over strongly from the report of Bulgaria which describes a “lack of trust in
the potential of young people” on the part of officialdom. The Italian correspondent declares that
young people are “never involved in decision-making processes.” The Czech Republic report
makes the point that at local government level there is a lack of adequate communication
channels between official structures/authority and young people. It is claimed that, “local
authorities cannot communicate with young people where the majority would be willing to take
part in town activities but these people have no inventiveness to start their own projects”. This
appears to be a vicious cycle. The town-school-local authority communications are seen in most
urgent need of improvement. In Finland we get the sense that cultural activities by subculturally
inclined youth, operate beneath the radar of what is officially understood to be cultural activities.
We are told “the official sector might not recognise some of the activities popular among the
young as cultural even though they have a deep meaning to them”. France too reports, “youth
do not feel recognised in what we call the “institutional” or “official” culture.” In Italy this appears
to be yet more blatant: “Issues related to young people hold a certain priority in the political
140
Cosplay (sort for 'costume play') is a Japan originated subculture centered around role play
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agenda... young people are under-represented in all sectors of civil life in Italy and are never
involved in decision-making processes.”
The report of Bulgaria contained political implications when it talked of wider imperatives and
values fostered by contemporary Bulgarian society. We are told that youth organisations are
relatively underdeveloped and the level of social capital among the young people is relatively
low. This is a post-1989 attitude that comes over in the several reports of the former eastern
bloc countries.
5.3. Geographical
Rural/urban divides were another issue voiced by correspondents. The French report comments
“In peripheral urban areas, it is well-known that young people gather in the stairwells of tower
blocks without any activity planned as they have no cultural, sportive or social activities
accessible. In rural areas, the problems [exist] for general insertion but also cultural and
transportation access are very similar to the underprivileged urban districts.” Rural areas suffer
from the least developed public transport systems and the offer is usually concentrated in
“dense” urban areas. It is reported that alcohol and tobacco are most heavily used in French
rural areas. Rural and urban splits were also mentioned by Luxembourg and Poland. The
common wisdom seems to be that the cultural situation is better in large cities (Slovakia). The
Slovenian report talks of an over-centralisation of cultural production. This again continues the
theme of uneven distribution. In Sweden we are told that there are conscious programmes to
ensure that “deprived suburbs” are provided with the optimal possibilities to access culture.
Again in terms of geography the UK report mentions “territorialism”. At times physical distances
can be small but psychologically there can be huge divides between one side of a street and
another which will prevent youth attending youth clubs for example.
5.4. Other social relations/vested interests
The prohibitiveness of networks is another barrier that emerges from the reports. According to
the report on Cyprus much organisational activity amongst civil society is concentrated in the
hands of the political parties. The German report says that the influence of family ties, the social
environment and school impacts cultural access. There are defined “cultural elites” which have
their roots in social class. About Luxembourg we are told: “access is too much mediated
through families”. Such networks are even more tightly bonded in migrant families. The UK
report observes that “The decision to visit such [supposedly high culture] spaces is often linked
to family and upbringing and often such organisations are finding that they are not only working
to make culture accessible to young people but to their families also.” This reminds us that
young people do not exist in a vacuum but are part of a complex network of groupings and
obligations.
Influence of family ties is probably all the more important to take into account as increasingly in
Europe, young people are forced to stay in their family home later than usual, many times due
to economic factors.
5.5. What is on offer
Perhaps the most striking recurrent theme of the obstacles is the commonly mentioned claim
that the unattractiveness of offer prevents youth participation. In one way or another most
country reports advance this line of reasoning. It is present for example in the French report in
terms of a mismatch between the offer and what is desirable amongst the young. The Danish
report comments “The main challenge for the providers of the cultural activities is to keep up-todate with the developments: cultural offers have to be attractive, creative, relevant and have an
interactive dimension.” The Finnish report refers to an “often monotonous” commercial offer.
The report on Poland states that “young people... many times do not find attractive the readymade cultural offer by public institutions.” Another running theme throughout the questionnaires
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was the lack of awareness on the part of youth as to what cultural activities were available to
them. This was mentioned in the reports regarding Cyprus, Greece, France, Germany, Spain
and, the Netherlands. The Dutch report states that despite ten years of investment by the Dutch
government, initiatives have misfired in part because “it is still very difficult to attract young
people's attention”. The Spanish report states:” Other relevant factors could include lack of
information as regards the existing cultural supply and the scarce design of strategies aimed at
attracting young audiences and young participants on behalf of some cultural institutions.
Further efforts may need to be [made] to engage young people in the design and development
of strategies and programmes, as a tool to ensure a stronger participation among younger age
groups.”
5.6. Commentary
What conclusions can we draw from the description of obstacles for participation of the twentyfirst century youth of Europe? Many of the factors discussed in this section overlap. A lack of
prioritisation of youth issues will lead to a poor cultural offer, details of which may be poorly
disseminated leading to a lack of awareness. In considering solutions some factors will be more
difficult to overcome than others. There are also political undertones in some of the reports. In
Bulgaria we are told that international organisations in the country prefer to work with
established NGOs such as UNICEF and the UN youth organisation rather than less well
developed national organisations. In Cyprus it appears that political parties are key drivers in
civil society organised movements. In Italy it appears that there is a lack of political will to
prioritise young peoples' access to culture. What makes cultural activities youthful? The German
report tellingly states, “too much artificial youthfulness does not appeal”. The Belgian report
observes, “Participation will only increase when cultural institutions really try to involve young
people. A bottom-up approach therefore is recommended”. If the offline world is dictated from
above with adult conceived offers that hold little attraction for the young, perhaps the online
world and its wireless younger brother offer greater opportunities to escape such structures. We
get the impression that the activities in cyberspace contrast favourably with the more traditional
youth arts sector and even established non-interactive youth cultural pursuits in the eyes of the
young. The Danish report declares “Movies, television and literature have lost the battle to
online services, including YouTube, Facebook and Arto.dk.” The UK report mentions
facebook.com, bebo.com and myspace.com. It comments, “these are sites in which young
people like to have ownership and control, rather than be led by adults. Young people like to
have autonomy within these spaces.” The picture ones gets from these testimonies of barriers
to youth participation are that twenty-first century youth in Europe are diverse in terms of ethnic
background and rural/urban/suburban base. They emerge as fluent in the world of web2 and
adept at modelling of what might be described as subcultural identities. It also seems that they
are increasingly under pressure from different directions. Their educational demands leave
them with less and less time for cultural activities.
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6. INSPIRING PRACTICES IN THE FIELD OF ACCESS
TO CULTURE OF YOUNG PEOPLE
6.1. Introduction
In this sector we have identified several actions promoted by different actors in the Member
States to extend the access to culture for young people. Several campaigns, initiatives,
programmes and projects listed in this section aim to ease the access to culture for young
people as users and creators. The intriguing issue related to inspiring or successful
examples is analysed at two levels: firstly, we observe the challenges of producing best
practices in the field related to youth and cultural issues, in general terms. Secondly, we
examine more in detail the best practices being formulated in the national reports and other
materials prepared for this study.
In addition to successful examples, we have also analysed nine case studies from different
countries based on the idea that a case study can be used to highlight a ‘good practice’ at the
local, national or international level. Descriptions of the case studies are included in the
annexes of the study; thus, in this chapter they are not presented in full detail. Likewise, not all
of the best practices are included but a selection of different types of action. A non-exhaustive
list of best practices can be found in Annex IV where 1-5 inspiring examples, or ‘best practices’
per country, have been listed. As regards successful practices, all the national correspondents
were asked to name one or a few practices, structures, methods, projects and policy priorities
which they considered significant and successful. The case studies and national answers, all
share the view highlighting a holistic approach to young people’s access to culture. Holism
(from a Greek word meaning all, entire, total) refers to a simple idea that all the properties of a
given issue (cultural, biological, social, political, economic, mental, linguistic, etc.) cannot be
determined, understood or explained by its component parts alone. In the context of the topic of
this project, what does this imply in concrete terms of young people’s access to culture? To
answer this we have created ten categories that help the reader to understand the different
dimensions of access to culture.
6.2. Examining best practices and youth culture
Over the past decades, manifestations of political governance have undergone significant
transformations in the EU, framing also the discussion around best practices related to youth
and cultural policy. Social and political scientists are challenged to develop new conceptual
perspectives and methodological approaches to advance our understanding of what is going on
in the interplay between individuals, cultural arenas, civil societies and the state – both at the
national and supra-national level. It is not possible to go into details of the massive literature on
this topic. Suffice it to say that the current ethos of governance seems to imply a change of
political culture, leading us to rethink the status of public policy with its participatory and
representative democracy, novel civic cultures and power dynamics in the society, shifting
hierarchies between ‘elite’ and ‘marginal’ groups, expanding territoriality of policy making – not
to mention various modes of socio-cultural and political engagement of individual citizens.
The basic rule that we have applied in listing ‘best’ practices, is to take into account that access
to culture is facilitated through partnerships and participatory processes or offering opportunities
for creation or cultural experience.
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6.3 Typology of Successful practices
If we take the cautions regarding the formulation of best practices in the field of youth and
culture seriously, we would prefer to use the term ‘successful’ or ‘inspiring’ practice, to bear in
mind the contested and context-sensitive character of these practices, rather than to reproduce
a universal share of understanding. Along this line, we also encourage the readers to take the
concept of typology metaphorically rather than literally – every good practice must be
carefully assessed in its own material, cultural and political location, to make a full
meaning and use of it.
The examples used in this chapter have been grouped according to the following typology:
•
•
•
•
•
•
•
•
•
Economic catalysts for cultural consumption
Cultural institutions and young creativity
Connecting with heritage and community
Mobility and cooperation
Interdisciplinary cultural / art forms and expressions
Engaging young people from diverse backgrounds
Art and creativity in education
New technologies
Young people as cultural producers and consumers
The nine case studies were selected on the basis of the information gathered from the national
reports and with the criteria of selecting examples of different nature in various parts of Europe.
A more detailed description of each case can be found in the Annex V:
Country
Austria
Case Study
Museum online
Bulgaria
Chitalishta Network
The Czech Republic
People in need
Cyprus
Youth Initiatives Project
Finland
Virtual youthwork platform
France
Jeunesse Ouvrière Chrétienne
– access to culture
The Netherlands
The StrangerFestival
Spain
Unidos por el Flow
United Kingdom
Young Tate Liverpool
Nature of the initiative
Collaboration between museums and
schools.
Network of local ‘agencies’ that
coordinate the Ministry of Culture’s
regional cultural policy and the
municipal creativity plans.
Programmes
of
multicultural
education.
Programme of mobility and active
participation in the cultural, political
and social life of Cyprus with the
object of creation of Active Citizens.
Virtual platform for young people to
participate in cultural life and virtual
creation.
Project and study on the access of
young people to culture especially
addressed to young people in
economically
challenged
neighbourhoods.
The biggest video festival for young
people in Europe
Integration and collaboration project
through hip hop for young immigrant
people involved in gang activities.
Project for ‘recruits’; young people
between the ages of 13 and 24 years.
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Tate Liverpool has key partnerships
across the city for example with
Refugee Action, MENCAP and
Liverpool City Youth Offending Team
and prioritise their work with young
people who are immigrants or
are/have been young offenders.
6.3.1. Economic catalysts for cultural consumption
As we have seen in the previous chapter, money constraints are an integral part of the
obstacles young people face when attending culture. One of the basic assumptions for creating
conditions to access culture is to facilitate more economically favourable conditions for
young people to attend cultural services. There are several examples, undertaken mainly by
public authorities at different levels, on reduced entrance fees or other benefits for young people
to attend cultural institutions. This is also one of the most classical and adapted measures. The
problem rises - like expressed in the national report of Luxembourg on the adoption of a cultural
pass in the city of Luxembourg - when the cultural offer is limited and fails to attract the interest
of young people that therefore leave the benefits largely unused.
Some examples of existing practices are:
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European Youth Card Euro<26 card141 has been one of the largest initiatives used by
the Member States to promote mobility and access to information and participation for
young people under 26 years old. It has been running since 1991, initiated by the
Council of Europe and the European Youth Card Association, and offers a range of
services, discounts and advantages across Europe. It has now been extended to young
people up to the age of 30.
An instrument similar to Euro<26, promoted by the Schauspielhaus in Vienna and the
social network Armutskonferenz, has been adopted in Austria specifically for cultural
activities. “KulturPass”142 is a card that allows people living in precarious financial
circumstances to have the right to enjoy art and culture. Every cultural institution that
participates in the project grants free entrance to “KulturPass” holders. Each of these
institutions funds these tickets through donations from individuals, organisations or
sponsorship efforts.
Other countries do have similar kinds of initiatives like the one carried out by a Dutch
organisation Cultural Youth Passport (CJP) through its website that informs young
people about the cultural offer and distributes a pass of reduced price for cultural
activities. Also, in France, in the Pays de Loire region, a “Pass Culture Sport143”
system was created for young people aged 15-19 that allows a free entrance for culture
and sport events. This system is currently being negotiated to also cover all young
people under 25.
National governments such as Poland, Greece, Estonia, Denmark and United Kingdom
are taking interesting initiatives to promote access by adopting decisions on funding
schemes such as, for example, the “Free Theatre Initiative” unveiled by the Department
for Culture, Media and Sport in the United Kingdom144 and free access to museums in
France (free access to national monuments and museums for young people under 26
since April 2009; according to the French Ministry of Culture this led to an increase of
15% in youth attendance during the first months after the measure was taken145),
141
http://www.euro26.org
http://www.hungeraufkunstundkultur.at
143
http://www.passculturesport.com/
144
The scheme is funded and manager by the Arts Council of England with a budget of £2.5 millions will be focused in
some 95 venues all over England in order to encourage young people to experience live theatre. Each of the venues will
offer part of the tickets for arts productions on the same night, free, for anyone under 26 years old. The scheme has
started in February 2009 with an initial goal of providing a million free tickets by March 2011.
142
145
See press release of the French Minister of Culture dated 31 July 2009 at http://www.culture.gouv.fr/
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Belgium (free access for young people under 19, one euro-fee for young people
between 19 and 26 in around 30 museums of Flanders in Belgium146) Denmark (free
access to all public museums for youth under 18) or Cyprus (free access to museums
for children and teenagers under 16). In Sweden the policy of free admission to
museums was removed in January 2007.
Another set of actions are those directed at providing young people a “cultural voucher”
to be spent on cultural activities. This kind of initiatives has been promoted in Spain by
the Council of Culture of Andalusia. 18-year-old young people will receive 60-Euro
vouchers that can be used to buy tickets for theatre, museums, concerts or cinemas
and also to buy books, CD’s or movies. The National Institute for Statistics in Spain
pointed out in one of its studies that around a 68% of Andalusians have a low
participation in culture activities. The aim of this initiative is to create new audiences and
to boost participation in culture, above all of young people.147
A more focused initiative on books and reading has been promoted by the Danish
government in collaboration with the Danish Library and Media Agency. The
programme is called ’BogStart’ (that is to say Book Start): children from socially
vulnerable residential areas are supplied with free packages of books, adapted to their
age, in four rounds until the child reaches the age of six. The book packages are
supplemented with a number of activities, some extra material and information for
parents about children’s language and reading.
A similar initiative has been promoted by the Department of Culture and Media of the
Catalan Government: 18 year old young people can take advantage of a free access to a
list of publications selected as part of the regional programme for reading promotion.
With the aim to support the cultural offer for young people, the Swedish Arts Council has
allocated more than 50 million SEK to independent theatre companies giving priority to
those which address children and young people issues in their production. 71 independent
theatre companies obtained production subsidy for the financial year 2008.
6.3.2. Cultural institutions and young creativity
In public policy terms, young people’s access to culture is easily defined narrowly to mean the
access to and provided by public institutions. This is also reflected in the public discussion that
emphasises young people’s integration to existing cultural services, be they public, commercial
or civic by nature. Too often we read the news where young people’s cultural participation is
depicted negatively as a difficulty to attract youth to traditional cultural and art facilities. In
methodological terms, young people’s cultural participation is assessed mainly through surveys
that manifest youth’s attachment to established cultural institutions and/or services.
Regardless of novel innovative openings that reach young people where they are, there seems
still to be a generational gap that comes to the meaning of “youth cultural action” as a premise
for young people’s well-being. A more sensitive approach would catch the manifold meanings
attached to the popular concept of “active citizenship”. In this way the understanding of the
concept could be broadened, not to cover only formal attachment to the education and labour
market, or subcultural rebellion, referring to the classic assumption that equates youth with
resistance to hegemonic order by adults148, but also informal leisure action and attachments
(friendships, family, social networks and mobility). According to recent national surveys from
Finland and France (Jeunesse Ouvrière Chrétienne) studying youth cultural action within the
framework of leisure time, young people themselves regard youth-initiated forms of sociocultural action and related social networks as a more significant fuel for their daily well-being
than a more formal participation in youth organisations or in other formal institutions providing
146
www.1euromuseum.be
It is interesting to note that, for this initiative, lack of money is not considered as a barrier to access to culture, as
expressed by Rosa Torres, regional Minister of the Andalusia Council of Culture. In an interview on 25 October 2008 for
the Diario de Sevilla, in her opinion young people do not have economic difficulties to access to culture: the cultural
voucher has been conceived as a way to not use the economic excuse to not participate in culture
148
Chapter 1, See also Huq (2006)
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activities for the youth. These studies manifest, in a critical way, that young people see their
own possibilities to influence on the development of (youth cultural) leisure activities in their
local daily surroundings as limited; provision is strongly framed by adults’ conceptions and
experiences. This kind of generational gap may contribute to the maintenance of another
elementary gap embedded in the cultural policy on youth, namely that between high and
popular culture.
Young Tate in Liverpool149 is a good example of an unprejudiced promotion of self-directed
youth cultural action in a conventional art centre. The gallery is at the same time one of the
major local centres of contemporary art and young people’s own community arena. It is situated
in the local environment regarded as socio-economically depressed. Young people have been
given free hands to vision the forms and contents of action that moves the youth. The fact that
young people have been genuinely engaged in planning, working and volunteering in the centre
on their own terms has implied a certain re-thinking of the very constitution of ‘youth cultural
engagement’. The actions such as rock-concert or thematic ‘hell nights’ with different expressive
forms of sins in different rooms in the gallery have demystified the elitist image of art galleries in
the eyes of youth. In addition, these forms of action have contested the conception that popular
cultural expressions don’t fit into conventional cultural venues such as art galleries. A holistic
approach does not only imply a cross-sectoral approach to the administration, supply,
expression, space or location. It has to do also with the understanding of professionalism of
those adults who collaborate with young people. The concept of ‘multi-professionalism’ refers
here to the know-how that combines contextual sensitivity of youth cultural life with other
relevant knowledge in the intertwined fields of social, pedagogical, media, artistic and youth
work, etc. For instance, a cultural curator who has also a professional youth worker background
coordinates The Young Tate in Liverpool. This gives a particular sensitivity to foster young
people’s daily leisure in tight connection to the promotion of their artistic regeneration and
meaningful engagement with overall society.
Other inspiring examples include:
• Youth Culture Club Siperia150 (City of Jyväskylä in Central Finland) is a platform for
independent art and cultural action of young people and young adults, aged between
13-29. It functions both as a daily meeting point, as a catalyst for young people’s
cultural creation, as a non-formal educational art centre, as a community club and as a
festival venue. Young people’s own initiative is in the background of this cultural
platform with a functioning partnership structure. With its open agenda, it provides an
arena for young people’s changing cultural and artistic aspirations. Positive experiences
of Siperia have functioned as a catalyst for the youth cultural promotion at the municipal
level as well: self-directed cultural activities of young people have been integrated to the
agenda of the Youth Services of the local city administration.
• Slovenian Youth Network MaMa151 (network of youth cultural centres). The Youth
Network MaMa combines and represents organisations that run youth centres or are
active in the field of youth work in Slovenia in order to support young people’s spending
of free time that is meaningful to them. Pionirski dom is one of the centres for youth
culture, oriented to work done in different fields of art and culture.
• Hip-hop Academy Hamburg152 highlights in a successful way of how to combine
youth’s own cultural expressions with artistic professionalism. The Academy is a
comprehensive, non-profit structure supporting youth from international hip-hop
communities in the city of Hamburg. Thus, a socially and culturally diverse city functions
as an environment for the promotion of practices that are rarely discovered or supported
as cultural action. The Academy is not only functioning on a project-based structure (as
many similar practices are). On the contrary, it aims at providing a systematic means to
use the opportunities of the intercultural location in the urban space for diverse
149
http://www.tate.org.uk/youngtate/liverpool/
www.siperia.info
http://www.mreza-mama.si/index.php?lang=en&id=1
152
http://www.hiphopacademy-hamburg.de
150
151
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manifestations of arts and culture. In this way, it broadens an understanding of cultural
action itself.
The Irish Museum of Modern Art153 has a programme for young people on education
and community work to foster an increased awareness and understanding of the visual
arts by inviting young people to participate in the activities of Studio 8, a space for
young people provided by the Museum. In this space the museum invites young people
to experience, create and discuss art with the presence of artists and culture
professionals. This allows the young people to get introduced to visual art in a friendly
environment. This example resembles the example of the Tate that searches for
connection with the younger public through enabling and supportive surroundings that
encourage the proactive attitude of young people themselves as regards art, creation
and culture.
A similar kind of action takes place in the Bonnefantenmuseum154 in Maastricht, the
Netherlands called M2LIVE. It consists of a Museum Marathon organised for young
people. With the objective of introducing young people to museums in their free time,
during the event many different activities are organised in which young people
themselves play an important role; for example young museum guides receive a
certificate. The Municipality and the museum prepare the event together with the young
people who then have a sense of ownership of the event and are involved in all the
steps of the process. This example demonstrates a process in which young people are
considered as active players instead of passive receivers.
6.3.3. Connecting with the heritage and community
At the height of globalisation, interconnectivity and transculturalism youth and cultural policies
need to find tools to react to the constantly changing landscape of youth creation. In a parallel
process cultural policies are challenged to find connection between locality and younger
generations. There are several examples of connecting local heritage or cultural community to
young people mostly through the use of new technologies. There are regions where fostering
the regional identity is considered particularly important and many efforts are put in
collaboration between the educational sector / schools and young people.
Some good practices in this field include:
•
Chitalischte155 is the name of traditional and unique community centres, established in
Bulgaria more than 100 years ago. The Public Chitalishte Regional Centres are
administrative units that are requested to harmonise the creative plans of all local
chitalishte in each region and eventually promote certain topical lines recommended by
the MoC. Each local chitalishte is an easily accessible youth cultural access point. In
the past, the chilalishte used to be the local cultural information centres where the
international cultural life was announced and interpreted by the local people. In those
times the chitalishte had also an active role in civil society mobilization and was in
general a gathering point for the active part of the local population. Nowadays, since the
60s of the 20th century, these chitalishte provide cultural education according to the
interests expressed by the youth. It provides activities and services for which there is a
critical mass demand from the local community. It organises a diversified opportunity for
children and young people to get amateur training in numerous forms of arts and
cultural activities as well as foreign languages.
As to the quest for cross-sectorality, Chitalishte is worth mentioning, for many reasons.
It is a stable institution, which means that its action is not based on a short-term project
idea. It can therefore nurture local cultural environment in a multitudinal way. It is a
space for open communication, integrating generations – old and young – to non-
153
http://www.imma.ie
http://www.bonnefanten.nl
155
www.chitalishte.bg
154
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professional community development as well as common memory building. Chitalishte
stimulates local partnerships toward sustainable development, crossing over traditional
administrative borders and encouraging people with different backgrounds to
community mobilization – to be the core of interest in education, culture, arts, cultural
tourism, environmental issues or fight against poverty and exclusion. Chitalishte is not
only a network of random local practices; the development of activity is both based on
people’s free initiative and creativity, and a context-sensitive analysis where local
resources and needs are carefully studied. This two-fold structure – combining free
action with careful contextual analysis and conscious community development – can be
considered a real structural and practical strength. Anyhow, this particular kind of
‘structured multidimensionality’ seems to be surprisingly rare in the practices mentioned
in the national answers.
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Another inspiring example related to the use of the Internet is Museum Online156; a
cooperation programme launched in 1995 that promotes cooperation between
museums and schools in Austria through the use of innovative technology in diverse
manners. The main components of the process are education, access to art and
culture, participatory approach and the technical and cultural use of communication –
and information technology. Since 1995 the programme has reached more than 450
schools and has involved more than 100 museums and galleries in the process. Each
year nine projects are chosen (one in each of the regions of Austria) that are composed
by a cultural institution, a school and a cultural mediator. The project aims at an active
involvement of the students themselves with the cultural institution functioning as their
project partner. The students are encouraged to choose the ICT media they want to
use. These usually design a web page for the institution or for the project itself but other
instruments are used as well such as audio files or other media. The students are
involved in all stages of the project from developing the content to technical elaboration.
For the young people involved the process includes different parts. They learn about
project management, civic and cultural education, learn to work in groups, have a
connection to their national and local culture, are involved in international partnerships,
learn about creative processes and are skilled with technological knowledge. All this
makes Museum Online an interesting example in which access to cultural heritage is
combined with the use of new technology and facilitated through both a guided structure
and a participatory approach – linking local engagement to global spheres.
Similar kind of initiatives can be found in Belgium (Amuseevous Vzw157) and Portugal (A
Minha Escola Adopta um Museu158)
An example of intangible heritage is an annual experience from Latvia, Latvian School
Youth Song and Dance Celebration, which is a festival with 35.000 participants that
gather together every June to show their creative talents. The festival has been
organised since 1960 as part of the National Song and Dance Celebration (established
in 1873).
6.3.4. Mobility and cooperation
Cultural participation is in most cases a collective experience. Access to culture also means the
possibility of expanding horizons and learning from others. In Europe there are several networks
for young people’s cultural services. These networks have an important function in
disseminating information about youth culture, national activities and cultural services, projects
and funding, by sharing ideas and experience with all those working in the field, promoting
cooperation and exchange. Mobility, cooperation and information exchange are the way for
young people to open a window to the world through a process of learning other cultures.
Some inspiring examples include:
156
http://www.museumonline.at/international/en/
www.amuseevous.be
158
http://www.ipmuseus.pt/pt-PT/iniciativas/actividades_imc/ContentDetail.aspx?id=1785
157
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Valhalla159 is the Nordic Council of Ministers’ Portal for children and youth culture
in Northern countries. The portal features current developments taking place in
architecture and design, visual art, dance and theatre, multiculturality, film and media,
research and education, games and physical exercise, literature and music in the
Nordic region. It primarily aims at adults working with children and youth culture, the
Portal can also serve as a source of reference for young people and other persons who
are interested in these issues.
EUnetART, the European Network of Art Organisations for children and young people,
based in Amsterdam, stimulates exchange, connection and collaboration among art
professionals bringing the arts alive for children and young people in Europe. Founded
in 1991 in Bologna, EUnetART is a multidisciplinary cultural network of over 100
organisations in approximately 28 countries. Members are professional art
organisations working for children and young people. Disciplines include performing
arts, visual arts, music, museums, arts heritage centres, children’s art and community
centres, media for children and festivals.
In 2003 the Danish minister for Culture appointed a new agency, Network for Children
and Culture to co-ordinate the tasks within the area of children, culture and the arts
and act as the advisory body to the Ministry of Culture. The Network for Children and
Culture consists of representatives from four of the ministry's institutions together with
three ministries: the Danish Agency for Libraries and Media, the National Cultural
Heritage Agency, the Arts Council, the Danish Film Institute, the Ministry of Culture, the
Ministry of Education and the Ministry of Social Welfare. The network is to ensure that
all government grants for children, culture and the arts are spent in the most effective
and comprehensive way. The network is also in charge of encouraging cultural
institutions to join forces in the great variety of projects on children and culture and help
to develop new methods160.
The Euro-American network of centres working on cultural projects for young people
Xarxa Groga has been constituted to promote the exchange of experiences and
enrichment among organisations working with young people at risk. It was created in
2003 by the Fundación Imago (Colombia), the Circus School Rogelio Rivel and the
association Clowns without Borders (Barcelona)161.
Also, we have found interesting the existence of web-resources for cultural operators in
the field of access to culture. The web page of the project “Taking parts in the Arts”
promoted by the Arts Council of England and the Finnish version “Culture for All”
supported by the Finnish Ministry of Education, the Nordic Council of Ministers’
Museum Committee and the Nordic Culture Fund, give guidance and inspiration for
achieving greater accessibility of cultural sites and services. They provide facts and
figures on access to culture, case studies and best practices, guidance and advice in
the field.
The Bulgarian project Perfecting Young European Citizens though art in 2008,
headed by the Fire Foundation (established in 2005), and NGO focused on youth
development, used art dialogue to connect 88 participants from different parts of Europe
(Austria, Bulgaria, Czech Republic, Denmark, Finland, Greece, Lithuania, Northern
Ireland, Romania, Sweden and Turkey). The aim of the project has been to foster
cultural exchanges among the participants exploring different issues, such as natural
values, healthy lifestyles of Europeans, softening differences (etho-cultural, religious,
personal or sexual, etc.) in an informal way through open-air workshops within theatre,
street-dance, natural art, and photography, as well as games and discussions that
provoke young people to exchange ideas and knowledge in an atmosphere of dialogue
and mutual understanding
The Biennial of Young Artists from Europe and the Mediterranean162 was founded
in 1984, on the basis of an idea by ARCI Kids. The office of ARCI focused on young
people, aiming to allow young European and Mediterranean artists to meet periodically
159
http://valhalla.norden.org
http://www.boernekultur.dk
http://www.xarxagroga.org/
162
http://www.bjcem.org/
160
161
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in the main cities around the Mediterranean Sea. The International Association of the
Biennial of Young Artists from Europe and the Mediterranean (BJCEM) was born in
Sarajevo in July 2001, during the tenth edition of the homonymous event. Its aim is to
reinforce the joint work and the relations among the different institutions and
associations operating in the cultural field in the Euro-Mediterranean area. Today the
BJCEM Association is a network which gathers 71 members from 20 countries,
including local bodies, ministries, associations, cultural institutions, and is open to the
membership of local and national bodies from Europe and the Mediterranean. The main
target of the Association BJCEM is to promote young artists' creativity and to encourage
international exchanges and the development of peaceful relations across the
Mediterranean area. The International Association BJCEM is a wide network,
encouraging the intercultural exchanges across political and geographical frontiers: the
structure of the Association promotes cultural exchanges beyond the existing political
and cultural borders, thus presenting Europe and the Mediterranean region willing to
converse and to work jointly. During 24 years of its history the Biennial has been
considered as the main window over the creation in the Mediterranean, presenting the
works of artists from 18 to 30 years old, from different fields: architecture, comics,
cinema, video, industrial and digital creations, photography, writing, gastronomy, music,
theatre, dance, etc.
6.3.5. Interdisciplinary cultural / art forms and expressions
For a young person, to engage him/herself in cultural spheres is an issue that concerns his/her
everyday life, both in individual and community terms. Looking at it from this perspective, the
borders between different cultural and/or art forms are not necessarily seen as relevant at all –
or even possible to be drawn. The title of the Spanish case study Unidos por el Flow163
captures this kind of holistic view. Unidos por el Flow is an association in Barcelona for young
people involved in the gangs and street life. The initiative tries to promote cultural dialogue
between different youth communities through hip-hop, dance and theatre. It combines fostering
constructive youth cultural dynamics with educational elements. As written in the case study,
the flow can be defined as “a smooth uninterrupted movement” or “a continuous transfer of
energy”. The case study tells us about confrontation of rival youth gangs in the Barcelona area
and the social and cultural imaginary that has been used to overcome the tensions. This story
does not only refer to a (potentially) romantic idea of the “creative potential of transnational
youth groups”. It manifests how a candid attitude to youth cultural expressions and forms –
potentially crossing over national borders, musical and stylistic traditions – can generate a truly
important urban community action, for all generations involved in this city space. With culturally
mixed actions, these youth groups could broaden their representation in the urban hierarchies.
With these cultural expressions the youth groups showed that beyond the problems that had
stigmatized them before as violent, they were able to generate productive cultural and social
action for the whole urban arena.
The material analysed for this study reveals a necessity of young people to have shared spaces
for new forms of cultural interactions and interdisciplinary expression. The young creative force
often drives young people to launch these actions at a non-formal basis before being picked up
and supported by formal structures or regrouped into a private initiative. Even if not always the
case, experiences of this kind tend to revitalise the local cultural scene with a strong sense of
locality.
Some interesting experiences include:
•
163
164
Crossing over conventional cultural/artistic borders does not refer only to cultural forms
or artistic expressions, but also has to do with a multiple use of locations. An excellent
example is Slovakian Stanica164 – a railway station used also as a cultural centre and a
www.unidosporelflow.org
http://www.stanica.sk/main.php?page=NEWS&lang=EN
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meeting point. The building of Stanica serves two purposes. It is both a railway station
and a cultural centre: it serves as an open platform for young people linking art and
social development. This innovative initiative transforms the station into space for
contemporary art, culture and community and social activities. It houses a gallery, a
workshop space, an internet café, a waiting-room, residential ateliers for young artists,
voluntary centre, and a multifunctional performance venue for theatre, dance, concerts,
discussions and projects. Stanica Cultural Centre is the main activity of one particular
NGO and is coming, in its third year of running, closer and closer to fulfilling its mission
of being a regional beacon for international culture. The project is connected to a wide
spectrum of culture institutions (so-called "culture factories“) established on a platform
of groups of young people and artists who bring life back to empty abandoned factory
buildings, industrial objects, stations and shopping centres.
Similar example to Stanica is Kultuuritehas165 (Culture Factory) in Tallinn, Estonia.
Kultuuritehas follows a similar kind of philosophy as several other factories in Europe
that have been transferred to cultural use. It has evolved from civil activity and is carried
out mainly by voluntary forces that have seen the expanding of the activities to include a
large variety of art disciplines. It has been described as ‘one of a kind’ in Estonia and a
space where young people can engage in expressive and artistic activities many times
simply for the ‘fun of it’. A similar kind of initiative is Les Abattoirs166 in Riom, France
that connects the use of previously industrial space with independent cultural offer for
the region.
Another example of cultural hybridity is Earth Garden Festival in Malta, which
integrates art to multicultural and environmental platforms. Launched in 2006,
sustainability has been taken from the beginning as a key priority to all artistic and
cultural action – both in forms of using material, consuming energy, applying handmade products, etc. There are surprisingly few concrete examples of environmentally
conscious cultural actions, despite a widely shared principle of sustainability. This
Maltese example is therefore unique.
6.3.6. Engaging young people from diverse backgrounds
Contemporary youth cultural dynamics are increasingly connected with cultural diversification of
European societies. The daily environment of young people is not just an exciting world of
multicultural hybridism, global trends and new experiences but also a realm of contradiction,
conflicts and struggles for space and identity. The phenomenon of cultural diversity with its
positive (multiethnic encounters) and negative (everyday racism) signs is an intrinsic part of
today’s youth cultures – a challenge which touches youth and cultural policies in a very central
way.
In national and international statements related to diversity, there is a dual emphasis on culture.
There is, first, a widespread focus on the importance of anti-discriminatory approach and an
open insight into cultural pluralism, regardless of whether the interplay between pluralism and
anti-discrimination is interpreted in ethnic, gender, religious, geographical or age-related terms
(see, i.e. Programs of multicultural education, the case study of the Czech Republic). On the
other hand, there is a need to promote a sense of unified collective identity and social cohesion.
Economic dilemmas are depicted also in a more general manner in the analysed material, as an
unstructured or insufficient economic supply for youth and/or cultural policies and practices in
the political power hierarchies at the national level. The diffusion of power refers also to a
particular trend of aging societies, where young people’s proportion constantly diminishes in
Europe. This has consequences on how young generation is respected, heard and prioritized in
the cultural policy areas, both in moral or in practical terms.
165
166
www.kultuuritehas.ee
www.lesabattoirsriom.com/
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In this context the French initiative of the JOC167 (Jeunesse Ouvrière Chrétienne) carries out
activities to foster access to and participation in culture of young people from low-income
neighbourhoods. JOC has been active in this field throughout the 2000s but special attention
was given to access to culture from 2008 onwards when JOC launched its campaign La
jeunesse [ça] se cultive to foster the possibility of young people to engage in cultural activities,
form part of the society and attend cultural services and equipments. JOC organises cultural
activities and initiatives around France and achieves to reach young people that have never
attended a cultural institution or show. The 'La jeunesse [ça] se cultive' festival in 2009 was a
celebration of majority and minority cultural expressions next to each other with a common
philosophy of inviting young people from impoverished areas to engage in cultural expressions
and experiences. The objective of the organisers was to transform negative images of gangviolence and high crime rates into positive images of participatory culture, democracy and
recognition.
•
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•
A Danish fund C:NTACT168 that has been running since 2004 presents an inspiring
example of involving young people in all stages of a creative process. With the objective
of letting young people express themselves, the project works through four different
units (theatre, media, writing, education) where young professionals guide young
people from different cultural backgrounds to tell their stories. Cultural diversity and
adjusting to the society are central features in the work, besides the possibility of
creative expression for young people to gain skills and confidence – the latter also
being related to their cultural identity/identities. C:NTACT has received an integration
award from the Ministry of Refugee, Immigration and Integration Affairs and has a wide
young audience that participates in their shows, radio productions and Internet
magazine “Metroxpress”
French association for urban art and culture practices, Collectif 129H169, works with
urban cultural trends and creation. Collectif 129H is a group, ‘collective’, of artists
working in particular with hip-hop as an expression of diversity and urban culture.
Through their studio and frequent collaborations with African musicians, the collective
defend new cultural expressions that combine writing, oral expression and scenic
performance.
In Hungary the Artemisszio foundation170 carries out integration projects with
culturally, socially and ethnically diversified youth groups. Emphasizing values such as
recognition, solidarity, interculturality, tolerance and sensitivity the foundation organises
different projects from training to awareness-raising. The cultural projects have included
actions such as the TWISTER project that examines different forms theatre can play in
the social integration of disadvantaged youth. The Culture Body-Body Culture projects
displays Roma oral traditions. Furthermore, the foundations aims at awareness-raising
among Hungarian young people on culture (different forms of culture from minority
cultures to EU) and assure their access to information and young people’s contacts with
other cultures.
An Italian experience Arrevuoto Scampia functions in one of the most conflictive areas
of Naples famous for unemployment, crime and immigration. The programme has as an
objective to use the means of theatre in social inclusion with young people from
unprivileged environments. The programme mixes young people with various social and
cultural backgrounds to create theatre together with the support of many actors from the
regions. This is an inspiring example of cooperation for awareness-raising and cohesion
put together with civil society and public and private actors but most importantly it has
been able to give visibility to young people and their creative capacity.
Regardless of growing multiculturalisation of European societies, there are surprisingly few
examples where ethnic minority youth would be encouraged to become – or interpreted to have
167
http://www.joc.asso.fr
http://www.dr.dk/skum/contact/
http://www.129hproductions.com/129H/main.php
170
www.artemisszio.hu
168
169
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the role of – active initiators and contributors of European cultural life, either in political or in
practical terms. Same has to do with the absence of examples where cultural policies and
actions would be seen as an important ingredient of anti-discrimination policies and concrete
practices against racism in Europe. Despite individual short-term projects, these issues rest
marginal when looking at a more systematic and structural promotion of access.
6.3.7. Art and creativity in education
In the analysed material, the quest for the holistic ethos is applied most often to the field of
education. In this context the youth culture ‘approach’ implies a move from formal educational
platforms and methods to more non-formal learning processes – or preferably, a smooth
combination of these two. A great focus on education in the national reports is not surprising:
both cultural and youth policy frameworks give a high priority to a better recognition and
validation of non- and informal education and learning. Nearly all listed ‘best practices’ in the
national reports mention non-formal education in their portfolio of interventions. In many of
these listings non-formal education is seen as a ‘desirable’ but not yet ‘firmly existing’ dimension
of education. National reports state that while there are many individual projects that link artists
to school environments, encourage to re-think the quality of arts teaching at school, or integrate
young people to out-of-school cultural educational centres, considerably less attention is put to
the dimension of informal learning. The latter may imply various processes by which young
people acquire and actively use knowledge, skills, attitudes and insights from daily experiences
and exposure to the environment – at home, at play, in the streets, in the internet, from the
example and attitudes of family and friends, from travel, media consumption and production...
These different paradigms of learning cannot, however, be considered as binary but rather as
intertwined and complementary.
Thus, whereas non-formal cultural education is about to acquire an increasingly solid grip in the
youth and cultural policy agendas, informal learning is still an issue that is less understood,
made visible or appropriately valued – particularly in the field of cultural policy. Lasse Siurala
has stated that while non-formal education is seen as a complementary to formal education,
informal learning is still considered an alternative to formal approaches, both what comes to its
concept of knowledge, approach to education and context of learning.171 In the field of youth
policy, youth work methods and practices that are connected with diverse cultural expressions,
from traditional arts to experimental youth cultural creation (so called ‘cultural youth work’), are
among the areas in which youth work is making interesting steps right now. This may concern
the recognition of experimental learning of young people of the new technologies related to
cultural creation (youth media).
Actually, a number of countries are placing a new emphasis on the importance of developing
culture and creativity within the educational curriculum.
First among them, the United Kingdom has promoted one of the largest projects to foster culture
and creativity in educational programmes. The Creative Partnerships programme172,
managed by the Arts Council of England with the funding of the Department for culture, media
and sports (DCMS) and the Department for children, schools and families (DCSF), has been
running since 2002 with the aim to develop young people's creativity across England, raising
their aspirations and equipping them for their futures. The programme works at a regional base
and it focuses on the most deprived communities in England.
Partnership between schools and creative professionals, including architects, scientists,
multimedia developers and artists, has a key role for the development of innovative learning
programmes. These partnerships inspire young people, teachers and creative professionals to
challenge how they work and experiment with new ideas. Since 2002, Creative Partnership has
worked intensively with over 2,700 schools across England. More than 12,800 schools have
had some involvement in the programme.
171
172
Siurala (2006)
http://www.creative-partnerships.com/
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Independent research and evaluation reports have shown the positive results of the project for
the young students that participated in it. The survey conducted by the National Foundation for
Education Research and the evaluation report by the Ofsted, a public agency for education in
2007173, showed that Creative Partnership has a significant positive impact on everyone
involved: young people, parents, teachers and schools as well as creative professionals.174
•
•
•
The Zukunft@BPhil programme in collaboration with the Berlin Philharmonics175 is a
well-known and well-considered music educational programme in Germany which
follows similar models as developed in the United Kingdom. The objective of the
programme is to engage people in music from a young age regardless of their
background. One of the most famous projects within the programme was the 2003
dance project with choreographer Royston Maldoon who guided 200 young people to
dance to a performance of the Philharmonics that was then filmed. The project
constitutes an example of introducing people to music through creation and play.
The Polish Minister of Culture and Heritage has inserted among his funding
programmes for 2009 one on cultural education. It is divided in two priorities of which
the first one interests us, the second being on the evaluation of the cultural ensemble.
The first, precisely named "Cultural education", has an aim to augment Poland's
competitiveness in the field of the reception and creation of artistic and cultural values;
readying children and youngsters to the active participation to culture, as well as
enriching the offer for the management of children and young people's free time;
strengthening the educational potential of the "houses of culture" (an institution present
in every town) and the libraries.
There are several organisations dedicated to cultural education and incorporating
cultural values in education. Austrian organisation EDUCULT176 and Belgian example
BRONKS177, Others include educational programmes in cultural institutions such as the
Zukunft@BPhil programme. More information on these examples can be found in the
Annex IV.
6.3.8. New technologies
The study carried out by the University of Sheffield (2005) provided evidence of the extensive
nature of children’s engagement with popular culture, media and new technologies and suggests
that they are competent and confident navigators of digital worlds178 There is no doubt that new
technologies can help in making culture more accessible for them179. New technologies with their
transnational dynamics are multiplying both young people’s cultural communication spaces and
possibilities for youth cultural creation, demanding us to update our skills and blur traditional
generational roles of socialization and learning. Ken Robinson stated already 10 years ago, that the
growth in new technologies has created a world market for cultural products and services that
operates independently of national political boundaries.180 The shift from a production-based
economy to a service- and information-based economy needs people with much more holistic skills
than the formal learning environments are currently preparing. Technological changes encourage
us to update the very definitions of the arts and cultural engagement, not least through interaction
with media and popular culture. The Janus-faced Internet is an ambivalent arena of engagement,
participation and social belonging, and a platform arena of risks and harms such as bullying,
173
“Study of Creative Partnership’s Local Sharing of Practice and Learning”, National Foundation of Educational
Research, September 2007 and “Creative Partnerships; initiative and impact”, Ofsted, 2006.
174
The results of the evaluation are presented in Annex III.2.b
175
http://www.berliner-philharmoniker.de/education/
176
www.educult.at/
177
www.bronks.be
178
Marsh J., Brooks G., Hughes J., Ritchie L., Roberts S., Wright K., (2005), Digital beginnings: Young children’s use of
popular culture, media and new technologies, Sheffield, University of Sheffield
179
See Screen Digest (2001) New information technologies and the young: a report for the Council of Europe,
Strasbourg , Council of Europe
180
Robinson (1999)
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racism, ethically questionable sites, extreme movements, net-dependency, false information etc.
According to Lasse Siurala181 the criticism has been that education and youth work, among others,
have not been able to bring their service to where the young people are today , nor to safeguard
youth from the risks which life in the Internet involves. The virtual world is a non-formal learning
context with which particularly the formal education institutions have had problems to deal.
The analysed material reflects great significance of new technologies, in particular virtual
arenas, for young people’s daily life and their cultural engagement. With regard to this
commonly shared vision, reports list surprisingly few concrete examples where virtual
communities link with cultural policy related practices – as a learning environment, as a platform
for artistic expressions, or the like.
Some inspiring examples include:
•
•
•
Netari.fi182 in Finland highlights that a unique way to the work done with young people
should be placed in the spheres where the youth truly spend their time. The aim of the
Netari.fi project is to develop youth work done over the Internet and to create a coherent
work model and working culture for an Internet-based youth work. As the target is to
find out suitable interactive methods to contact young people on the Internet, the online
youth workers search young people in the environments which are popular for them.
Netari online youth work is performed in two network highly frequented environments,
Habbo and IRC-Galleria. The Netari online youth facility works in both environments,
making it possible for young people to have real-time conversations with other youths
and with trained youth work professionals. These youth work facilities are open seven
days a week from 17/18 to 21 hours. Approximately 120 000 young people have visited
Netari during 2008, about 700 young people every evening. Netari does not mean only
online interaction between a professional youth worker and young people. In addition to
virtual contacts, Netari organizes real world get-togethers for the youths who use the
facility, and a national Netari camp once a year. Young people are also offered a
chance to be trained as voluntary assistant youth workers who take part in the
performance of online youth work with the help of an actual Netari youth worker. Thus,
Netari applies diverse forms of education and learning – both non-formal peer learning
and more formal cross-generational learning, where both young people and online
youth workers continuously learn new ways of working, communicating, acting,
expressing themselves in the electronic environment. Netari applies an open attitude to
age limits and welcomes young people from very different ages to come along. Netari
may be an important meeting place for those youngsters who feel themselves either too
young or too old for youth work activities. Online the conception of youth is maybe more
flexible – as are changing cultural age conceptions as well. Older young people are
provided an opportunity to be trained as voluntary youth work assistants.
A Danish example Unges laboratorier for kunst183 – young people’s art labs - invites
young people to visit museums through an interactive art portal where young people
can experience and enjoy art on their own terms. This experience enables young
people to take an active role in creating contents and being in contact with specialists. It
is an inspiring example of allowing art to be attractive for young people as it is an online
tool which is in constant transformation.
The multimedia tool Treasure Quest, consisting of an interactive CD and website184, was
produced within the framework of the two-year project Encouraging the Use of the New
Methodology in the Teaching, Preservation and Promotion of Cultural and Environmental
Heritage, funded by British Council Bulgaria through the British Council Cultural and
Environmental Heritage Fund for South East Europe. The project’s target audience is
mostly children and young people who live in South East Europe. Its objective is to raise
their awareness of, and sensitivity to, cultural heritage in general, with a particular
emphasis on the South East Region’s unique cultural heritage, and thereby foster a
Siurala (2008)
www.netari.fi
ungeslaboratorierforkunst.dk
184
See www.heriquest.com
181
182
183
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sense of regional identity and a sense of shared responsibility and respect for the
values of other nations, ethnic communities and religions. The multimedia content,
available in Bulgarian and in English, is attractive and user-friendly and invites young
learners to be active participants in an informative game-play.
Another inspiring example is StrangerFestival185 – the art and media initiative in the
Netherlands whose explicit aim is to create the proactive space where the roles of
young audience, producer and consumer get intertwined – in collaboration with both
friends and strangers'. As described in the case study presentation, the festival is a
transnational media and art initiative which combines a variety of activities, from artistled video workshops accomplished with disadvantaged young people to an open
competition for young generation. All individual activities share a common – and simple
– task: to let young people show what matters to them in their life in a short video. The
festival is an initiative of the European Cultural Foundation, an independent NGO-based
cultural institution in the Netherlands. StrangerFestival means a dynamic structure of
networking with media partners, project partners and website partners – in collaboration
with young individuals and diverse youth groupings, media houses, art centres,
research communities, civic actors, municipal authorities, artists… With this kind of
open-minded approach to partnership – where partnership regards content, exposure
and funding – the festival has succeeded in broadening the bridges between artistic and
social work, or between online and IRL-creativity.
The Library for Youth186 experience in Spain is an action that seeks for a new model
of libraries based on new technologies and active participation of the users of the
library. Based on the results of a study that showed friction between young people (for
the negative image they have) and libraries (young people are not satisfied with the
technological offer and orientation by the library staff), the action takes use of new
technologies and new forms of interactive library services through the Internet that the
young people find attractive to participate in. The process is interactive and invites the
young people to collaborate and actively contribute to the construction of the site.
6.3.9. Young people as cultural producers and consumers
All over Europe several experiences are promoting access to culture of young people by giving
them a way to express themselves in different activities such as performing arts, reading and
writing, cinema, visual arts, among others. Many of the initiatives are promoted by national
governments, but also by cultural institutions and associations in partnership with public
agencies or other institutions.
These kinds of initiatives promote intercultural exchange and mobility of young people; give
them the opportunity to show their capacities in cultural and artistic activities and to get an
international award or funding.
As already mentioned in the previous sub-chapter, the StrangerFestival is one of the biggest
events for young video makers and fans sharing stories in Europe187. Cross-disciplinary
partnerships is a crucial tool in the idea of the festival, in order to give a larger number of young
people the tools and opportunities for intercultural learning and sharing. The idea behind the
festival is the belief that self-expression and interaction by means of video-making equips young
Europeans with fundamental citizenship skills and gives fresh talents opportunities to be
discovered.
Again, there seems to be a constant concern related to young people’s cultural engagement.
Young people are easily depicted as passive consumers of cultural products rather than
considered cultural creators of their everyday life – the latter aspect being harder to recognize
185
www.strangerfestival.com
http://www.mcu.es/bibliotecas/docs/Cooperacion/poster35.pdf
187
In the field of video-making and cinema for children and young people several initiatives are running in Europe as the
International film festival in Malmo, Sweden, founded in 1984. In Ireland The Fresh Film Festival running since 1997, the
VideoTivoli Festival for children and young people in Finland today at its sixth edition, in Italy Young About, International
Festival Youth and Cinema running since this year.
186
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and / or valued. One reason for this worry lies in the very understanding of cultural engagement
itself. The conception of cultural engagement – as understood within the framework of art and
cultural policies – may be increasingly remote from young people’s cultural and aesthetic views
and practices. National reports both reinforce and question the clear-cut conception of young
people as cultural consumers vs. producers, as well as the narrow notion of cultural
engagement itself.
The Cypriot case study 'Youth Initiatives' Project188 provides young people possibilities for
active engagement in the cultural, political and social life – on their own terms and ways. The
project is an interesting example in this context, since it is supported by governmental resources
but initiated and designed at the practical level by young people. This structure has resulted in
community action of diverse kinds, ranging from creation and furnishing of young people’s own
social spaces to environmental protection and to bi-communal dialogue across southern and
northern Cyprus. Over 700 applications for funding have been done since the beginning of the
year 2008, which makes the initiative a significant resource for young cultural life. As for
professionalisation and labour perspectives, in Germany young people aged 16-27 can apply
for a year-long voluntary internship in cultural institutions. The programme Frei williges
Soziales Jahr Kultur – Voluntary Social Year Culture has included the possibility of
placements in cultural institutions since 2001. The tasks vary according to the institution and
assignment and both the interns as well as the welcoming institutions receive training, support
and accompaniment during the year. So far the opportunity has enabled the placement of
around 400 young people in different parts of Germany. This example enables young people to
gain professional skills, experience and security and helps in future placements in the
professional field.
Other practices include:
•
•
•
•
188
189
The Arts Award189, in the United Kingdom, is a national qualification which supports
young people to develop as artists and arts leaders. It is run by the Arts Council
England and the Trinity Guildhall. Young people aged between 11 and 25 can achieve
Arts Awards at levels 1, 2 and 3 (Gold, Silver and Bronze) on the national qualifications
framework. Young people interested in working for an Arts Award have to work for it in a
specific Arts Award centre. Any organisation, which supports young people’s arts
activities can register as a centre once they are linked to a trained Arts Award adviser.
An Arts Award centre might be an art gallery, theatre, school, and youth club or youth
arts project. Young people can achieve an award in any arts or media activity, selecting
their stating point in a chosen arts activity and setting personal challenges. The Arts
Award assesses how the young apply himself to his arts activity rather than his specific
skills in the chosen arts form. There are no entry requirements, no time limit on
completing the award and no hard rules in presenting the work.
In Bulgaria the Association of Independent Young Talents, that in 2006 changed its
name to Literary Club Ikar, encourages creative writing and publishes the works of its
members through a website. These works can be publicly ranked and young writers are
given feedback. This example represents an innovative idea of dissemination of art
works and giving visibility to the creativity of young people.
In Romania the “Maiart” Cultural Association for Youth and “Ludic Students
Artistic Cultural Association” are initiatives run by students in order to stimulate the
participation of young people in cultural activities. Apart from the awareness-raising
activities the association also has organised “Art Festival for Young People” in May
2007 and the “Entertainment Theatre Days” during several months in 2008.
The Young Irish Film Makers aims at training young people to become film makers.
The philosophy of the film company is to invite young people up to 18 to develop their
ideas and realize their creative aspirations while being guided in the process by young
Project of the Youth Board of Cyprus - see http://www.youthboard.org.cy/
http://www.artsaward.org.uk
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professionals. The idea is to facilitate a certain kind of peer-education and to make
possible for young creators to reach young audiences. Many of the young people that
have participated in the projects have later studied film at professional level.
As regards professional development of young artists, the Italian experience Officine
dell’arte offers an example of a regional initiative in Lazio. The project aims at creating
working opportunities for young artists and cultural professionals through cultural art
production and promotion. The results of this programme show that collaboration
between local institutions and young artists can prove to be very successful for the
cultural life for the region.
Also in Italy, the Minister for Youth policies has promoted in 2007 an initiative to
enhance the creative role of young people. The action was called Young ideas change
Italy (Giovani Idee Cambiano l’Italia) and had the aim to foster the planning and
creative skills of young people. The targets were young people aged 18-35 that were
called to present projects within four themes: technological innovation; sustainable
development; social utility and civic commitment and management of urban and
territorial services for the quality of young people’s lives. 64 projects got a funding of
EUR 35.000 each for a total public expenditure of EUR 2 million. In addition, the
Ministry for Youth policies, together with the DARC (Department for Architecture and
Contemporary Arts) and the Minister for Heritage and Cultural activities are the main
partners of the Young Italian Artists circuit (Giovani Artisti Italiani-GAI). It is an
umbrella organisation of 45 local governments with the purpose of supporting young
creativity with instructive, promotional and research initiatives. This net formed by Italian
public corporations has a big strategic importance: it has, in fact, the ability and the
authority to table appeals and issues of the contemporary artistic production sector to
the central authorities. In this way appropriate and consistent politics can be obtained,
catering for the needs of this cultural area. Since 2004 the circuit is running national and
international projects. Moreover, the Movin'Up programme supports with an annual
fund the mobility of young Italian artists in the world.
6.4. Best practices as a part of modern knowledge production
processes
As being stated earlier in this report, when the issue of young people’s access to culture is at
stake, we need to acquire a two-fold approach, combining cultural youth policies to youthful
cultural policies. One significant locus of comparison is the seminal book published by the
Council of Europe In from the margins. A contribution to the debate of Culture and Development
in Europe (1997). In this publication, the “best principles” were linked with a cross-sectoral
approach emphasizing relation between culture and overall development of the society. This
kind of broad approach leads us to emphasise at least the following aspects when successful
practices are mapped:
•
integrated approach emphasising relation between culture and overall development
•
autonomous cultural creativity (both amateur and professional, not to overlook the
creative force of young people)
•
manifold opportunities provided by new technologies
•
cultural policy approach which fosters both unity and diversity
What has then changed after these cultural policy principles? In order to map some of the
rapidly changed social, political and cultural contexts and conditions of young people, we can
list the following trends:
•
•
•
•
globalisation & transnationalisation & pluralisation
increasing quest for sustainable ethos in terms of policies and practices
commercialisation of young people’s daily life
virtualisation and new technology of young people’s daily life
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•
demographic hierarchies in aging European societies (emerging quest for
democracy, equality and generational policies)
This exhaustive list does not only refer to changing conditions of young people’s everyday life
and policies. Also the very definitions of youth, culture and arts are changing rapidly through
interaction with new technologies and youth cultures. As related to this, we can also mention
two cautions:
•
•
The interplay between universalism and particularism. Regardless of growing
mobility of people, productions and ideas, the nation-state seems to maintain its
position as a basic locus for analysis. Moreover, the processes of formulating best
practices tend to strive for repeatability, comparability and a shared (”contextless”)
knowledge, being then universally produced and understood. However, young
people’s cultural realities – both in terms of production and consumption – contest
this kind of universalistic approach. Instead, they demand a context-sensitive,
particularistic and interpretative understanding of young people’s cultural action.
There is, consequently, a contested interplay between the universalistic logic linked
with best practices, on the one hand, and a great variety of spaces, modes and
interpretations of youth cultural realities, which may be unique, momentary and
non-repeatable, on the other.
Broadening of the paradigm from participation to engagement. The conceptual
framework linked with participation leads us easily to see the problem of youth
cultural activity versus passivity in a clear-cut manner, often in generational terms:
how we (adults) can make youth (they) more active? Accordingly, best practices
being formulated in cultural and youth policy arenas contribute to set their own
normative virtues for the concept of ”culturally active citizen”. From the youth
cultural perspective, these tendencies can be somewhat misleading: young people
are constantly engaged in aesthetic and cultural activities though diverse popular
cultural forms. Furthermore, young people’s settled cultural roles, societal positions,
life paths and moral expectations have become increasingly confused and complex,
contesting many ready-made versions of being culturally active. Thus, there is a
need to broaden the concept of youth participation to encompass increasingly
diverse forms and arenas of engagement. From this angle, a number of contesting
political questions can be formulated:
What makes policies related to youth cultures both exciting and demanding is an elastic and
protean nature of the phenomena in question. While we try to catch the core of youth cultures
by formulating eloquent typologies of ‘successful practices’, they escape our understanding and
good will. Indeed, youth / cultural policies need a certain ethos of transformers – regardless of
whether the concrete reference is in popular science fiction movies, young boys’ movable toys,
or a device that transfers energy from one form to another.
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7. CONCLUSIONS
1.
Young people are not a homogeneous group and need differentiated, coordinated
and long-term policies
The national reports elaborated for this study show that patterns of access are different in
different countries and that the very concepts of ‘access’ and 'young people’ are understood in
different ways. One of the assumptions of the study is that young people are not a
homogeneous group and while young people as a ‘group’ are defined and ‘composed’
differently in different countries, they also need differentiated policies. Therefore it is likely
that some of the reasons why well-intended policies do not reach their target group are the lack
of information on the existing patterns of youth cultures and the cultural necessities young
people have and the lack of communication between actors at different levels. This persistent
lack of dialogue is visible, not only between the public and private sectors and the civil society
but also within the sectors themselves. In many countries youth issues are transversal or ‘cross
sectorial’ and dealt with in different administrative units within the state administration. Even if
sharing similar kinds of objectives, they may not be aware of each other’s actions and these get
easily duplicated. Youth access to culture is still a fragmentally and sporadically discussed
issue, combining diverse actions taken by different players. It is still not visible as a long-term
synchronised and coordinated strategy among the Member States. What we can also observe
is that there is a lack of ‘culture’ in the work of youth organisations, regional organisations and
other actors to the point that they seldom even mention culture within the priorities.
In this study we have looked at existing structures, policies and legal instruments that offer the
framework for the access of young people to culture and their participation in it. In that sense
our scope has been clearly in the opportunities of young people to participate and how they
have been facilitated. During the process it became quite evident that we also need to hear from
the field and see what the youth culture tendencies in Europe are and what kind of
best/inspiring practices we can identify. But as we have looked at the culture tendencies in
different countries, we are quite hesitant to draw conclusions. It is true that the youth
generations share common values and cultural symbols, but youth culture is also strongly
related to its context. What we find in Europe is what we have called “a polarised picture”. We
find differences between young people in urban environment and in rural environment, and we
find differences between young people in aggressive, cosmopolitan and diverse urban
environments and young people in more homogenous and closed urban environments. We
observe differences in countries where youth culture is more marked by the ‘new comers’ –
recent immigration and in countries where there is a longer tradition of cultural diversity.
However, when we observe the existing tendencies overall some transversal phenomena seem
to mark the European youth culture territory. In an attempt that we call “the continuing dialogue”
as to knowing the dangers of overall generalisations, we have distilled these phenomena to ten
concepts that give guidance to the reader on the state of youth culture in policies and the
challenges policies and strategies need to tackle.
The ten phenomena of the continuing dialogue are:
¾
¾
¾
¾
¾
¾
¾
Juvenilisation: extension of youth lifestyle beyond age limits
Aculturalisation: a shift from high culture to popular culture, from handcrafts to high tech
Commercialisation
Prosumerisation; a young person being at the same time producer and consumer
The balance between the individualisation and differentiation of subcultures and
identities
Fragmentation: diversification of youth trends into different heterogeneous scenes and
tribes
Globalisation
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¾
¾
¾
2.
Transculturalism: hybridisation of youth cultures and production of umbrella identities
Empowerment
Digitalisation
Access of young people to culture is attracting a growing interest at all policy-
making levels (international, European, national, regional and local)
Access of young people to culture is attracting growing interest from supranational and
national/regional/local actors. The Council Resolution on a renewed framework for European
cooperation in the youth field (2010-2018) underlines the importance of young people’s access
to creativity and culture. The European Heritage label process adopted in November 2008
fosters the access of young people to common cultural heritage and the Council conclusions on
Promoting a Creative Generation – developing the creativity and innovative capacity of children
and young people through cultural expression and access to culture, adopted under the
Swedish Presidency of the European Union in November 2009, place access and participation
of young people in cultural activities and expressions in a central place. These kinds of
processes show the attitude of engagement the Member States are willing to take in and place
importance to as regards exploring the creative capacity of young people and their participation
in cultural activities as part of their well-being and personal development.
When examining cultural policies carried out in the Member States we can observe that they
have implemented a variety of actions as related to youth access to culture. The actions
undertaken are particularly strong in areas related to heritage, employment, mobility, cultural
consumption and participation, arts education, amateur arts, preservation of minority cultures
and social cohesion, whereas they tend to reply less to contemporary and media-related forms
even though new technologies and digitalisation are on the rise of the priority list. What we can
observe is that cultural policies sometimes address issues such as access of young people to
culture or the cultural participation of young people as ‘leisure activities’ and therefore exclude
them from policy planning. Cultural policies mainly take young people as users, buyers,
consumers and audiences or creators themselves and leisure is very much a youth-policy topic
and therefore separated form cultural policies. As regards the different national policy schemes,
national cultural policies do identify “children and young people” as specific target groups but
this does not automatically translate into concrete actions. Many programmes and initiatives
exist under cultural policy to attract young people to cultural organisations, events and
experiences. They have a sporadic principle of initiation and implementation, rather than being
part of well-elaborated long-term cultural strategies at all levels, related to young people. Also,
when children and young people are not specifically targeted in cultural policies, it is more
difficult to identify what kind of initiatives national governments are supporting.
3.
Time, money and geographical constraints remain the main obstacles in terms of
access of young people to culture
The national reports show that as regards access to cultural life, major obstacles are time and
money constrains, attitudes (not only of the public in general but of young people themselves),
geographical (dichotomy between urban and rural environments, lack of physical access such
as transport), other social relations (class), and also what is on offer meaning that the offer does
not always meet with the needs and necessities of the young public. The intensity of these
obstacles seems to vary from one country to another. We can observe that there are countries
such as France where social relations have more weight than the difference between urban and
rural environment, which for example could be the case of Estonia. But we have also seen that
there is discrepancy between well elaborated and ambitious youth policy programmes in big
cities (in some countries) and lack of attention on rural and isolated areas. What all countries
share is that the most culturally active part of young people is educated women.
Funding and living conditions are themes that come up frequently. Young people complain
about complex and demanding grant programmes and insufficiency of mobility and international
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cooperation. Cultural expression does not necessary need a lot of resources, as we have seen
from some examples, but young people also need tailored funding opportunities as well for
small-scale cooperation and creation. Many national correspondents have reported the
devastating effects of recession in the cultural and youth field. This affects not only in the
possibilities for funding in amateur arts and practices but also in the field of cultural industries
and young art professionals. Young professionals need economic capacity building and support
for ‘empowerment’ in entrepreneurship.
4.
Family and social environment are fundamental elements in encouraging
participation
When examining obstacles, another important aspect is that the family environment is a
fundamental element in encouraging participation. Social relations, family/social
environment and school have an essential importance in building young people’s access to
culture. Various studies also show a link between cultural upbringing and participation. For
example a French study190 on students’ access to books shows a simple correlation between
the number of books in the family library and young people’s willingness to read. Even if it might
be a bit more complex, the family environment is important and together with tendencies of
cultural participation represents a challenge for cultural policies.
Studies show that young people tend to have a classical vision of culture (attending cultural
venues, museums and other equipments) whilst they consider cultural participation to include
some non-traditional cultural forms such as watching TV, ‘hanging out with friends’ and playing
computer games. It is also evidenced through the national reports that young people spend a lot
of time in domestic environments; sometimes due to the lack of spaces for young people to
meet – a phenomenon mentioned for example in the Portuguese report. - or that young people
due to economic reasons tend to live longer with their original family than they might like to –
mentioned for example in the Cypriot or Spanish reports.
5.
Digitalisation can be used as a motor of cultural participation
Another reason is the digitalisation of the cultural environment and online participation –
mentioned for example in the Finnish report. Not surprisingly, in most of the national surveys
young people mention that watching TV is their primary leisure time activity and that being
online is a fundamental part of their lives. This also reflects how the forms of access and
participation have changed over time. Creativity and innovation, related to the life and the future
of young people, are strongly connected to the new technology, the creative use of Internet, and
the way young people accumulate, analyse and disseminate information and knowledge. The
digital cultural environment is a key factor in today’s youth culture and its impact on the future is
still largely not exploited. However, it should not be intended to replace a live-experience.
6.
A need for better knowledge on youth participation and access to culture
What becomes clear in our process is that there is need for more research and information.
There seems to be a lack of information and research on various issues related to our
theme, despite of the existence of national research centres in several countries, aiming at
increasing the understanding and knowledge of youth policies, youth culture, lifestyle,
preferences, needs and trends. The Compendium of Cultural Policies and Trends in Europe (an
Internet-based and permanently updated information and monitoring system of national cultural
policies in Europe) does not include a special sub-chapter on “the access of young people to
culture” as part of policy priorities on national level. More research and data are needed on
various issues (for example information on minority youth and their access/participation in
cultural life or on the structural link between cultural background and how young people would
like to access culture). It seems that the information available is basically statistical information
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on the assistance of young people to cultural events and institutions as well as information on
their leisure-time activities. We have not found clear indications or indicators that would
measure to what extent and how the implemented programmes and instruments to increase
access to culture for young people in culture have reached the preliminary set objectives and
outcomes.
Furthermore, there is a need to know more about participation and the cultural habits of
young people, how they feel about their cultural rights and opportunities, what kind of cultural
activities they desire, what they appreciate and what they do not. We also need indicators to
measure the impact of policies and actions and whether they produce significant changes. As
one of the national correspondents said: “active young people find their opportunities anyway”.
Although there is a lot of grass-root research in the field of youth culture carried out by national
and independent research centres, foundations and universities, Member States should
promote a more focused national research on the theme of access to culture in order to better
understand the needs of young people when implementing policies.
7.
More specifically, there is a need to evaluate what young people themselves
consider important in terms of access to culture and cultural offer, as well as what their
expectations for the future are
There is still little information available on the evaluation of young people themselves of the
cultural offer, structures and opportunities, and their expectations on the required support for
participation in cultural activities. Most of the Member States do carry out statistics and/or
surveys on participation at national level. In most cases these studies describe the variety of
institutions and activities in each country, the attendance of people in cultural activities and
institutions, and (public) cultural expenditure. As regards reviewing and surveying access and
cultural participation in Europe, the results show that statistics refer basically to attendance.
However, there are efforts currently being made to increase the scope and quality of youthrelated statistics and various national and local surveys have been carried out recently, or are in
preparation, on access of young people to culture. This shows clearly that statistical information
on attendance is not sufficient to survey the needs and necessities of young people and to
understand their participation patters and possibilities to access. Depending on what is
considered cultural participation, young people may even turn out to be the most active part of
the population. The participation surveys show that young people are passive or active
depending on what is surveyed. In some countries the participation rates of young people do
not differ from the rest of the population, in other countries the young people are clearly the
most inactive part of the society when it comes to cultural activities. The reasons for the
inactivity were given to be the lack of custom, other interests, disinterested peers, lack of time,
lack of information and lack of perceived “talent” in the family.
8.
The media image of young people should be improved
Young people are probably one of the most visible groups in society. However, the media
image of youth culture and young people is often negative. Young people in different
countries seem to require more visibility as youth itself and youth culture in general, as well as
access to cultural knowledge of other cultures.
It is right to notice that the Member State carry well-planned, participatory, democratic and
inspiring policies that prove not to be successful due to the inactivity of young people
themselves. Many national reports mentioned the apparent apathy of young people as
regards cultural participation. According to surveys on the attitudes of young people it seems
that participation in culture and leisure-time are not considered as important as other more
‘useful’ activities. It is also clear that it is impossible to motivate everyone and young people
have the right not to participate if they do not want to. However, consulted youth organisations
and professionals in the youth field seem to confirm that this passivity is not due to the lack of
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interest but more because of not succeeding to find the most suitable forms, structures, spaces
and opportunities. The consulted actors seem to coincide in recognising the importance of
leisure-time for young people. This might mean looking at possibilities for young people as to
what they want to do (culturally) and finding ways to peer-education and time spent with peers.
9.
Access to information should be further explored
Access to information seems to be a crucial theme in many countries; information tends to be
disperse and hard to localise. The same problem seems to bother the dissemination of
successful experiences; there are several experiences in member states but they tend to be
very local and in a local language. Therefore it is difficult to obtain information on them. A portal
of European successful experiences could be a useful tool.
10.
Volunteering is an important part of cultural participation
As regards the actors in the field at regional and local level there exists a wide panorama of
cultural organisations and voluntary associations that are working to promote culture for young
people. Even if not explicitly asked in the questionnaire, the national correspondents underlined
that volunteering is an important part of participation. There are a number of strong
networks for children and youth culture that are promoting cooperation and sharing experiences
in the field. However, it could prove to be useful to give stronger visibility to the work of these
bodies around Europe and foster a major cooperation at European, national, regional and local
level in Member States. There is also a need to know about the civil society, or third sector
actors that work in this field.
11.
Relationship with civil society and role of the private sector are to be explored
In our report we have also touched upon the relationship between civil society actors and
youth culture, as well as the role of the private sector. The private funding in the youth field
is largely a non-explored field and can give quite interesting results as we have seen in
countries such as Germany where private donations form a big part of investment. As regards
the relationship with the civil society, even if we again are faced with the great variety of actors
and forms, there are some common trends that can be discerned to identify European culture
as European, such as: (i) a strong spirit of collectivism (associative life, student unions etc) that
persists further up the age-scale in a syndicalist tradition, (ii) secularisation, (iii) cultural
hybridism – European nations appear to be ever-more multicultural in their make-up unlike
some more mono-cultural parts of the world. All three of these factors define the ease or lack of
ease in which Young people in Europe Access culture. Of course other factors could be
mentioned. The legacy of 1989 came over very strongly in the national reports of the countries
that benefited from the last enlargement but collectivism, secularism and cultural
hybridism/pluralism came across in all countries. The examples above then represent a vibrant
European civil sector that is vast in quantity and rich in scope, even if the reports are somewhat
uneven in their descriptions of this. This in itself is testimony to the diversity of the relevant
organisations, sectorial interplay, form and role that define how civil society functions in the 27
Member States.
12.
Other elements
Based on our observations we can also note that:
¾
There is growing interplay between universalism and particularism – the common
cultural symbols that young people share in different countries due to the globalising
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¾
¾
¾
¾
¾
¾
¾
¾
¾
¾
effects of virtuality and the particular circumstances of the opportunities and
environment for cultural action.
We have also observed that there is a broadening paradigm from participation to
engagement: there is a need to broaden the concept of youth participation to
encompass increasingly diverse forms and areas of engagement. We can also see a
digitalisation of youth culture where a big part of youth culture in the future will be
digital. What we do not know is whether that will make culture more accessible – a
virtual participation can result to be only a visual experience that cannot replace a real
experience. We can also see a tendency of individualisation of youth culture where
different ‘youth groups’ (teenagers, young adults, etc.) and individuals have different
needs and might be participating from a lap top as opposed to groups. And, as
expressed earlier, there is also a process of localisation of culture (diversity of
expression) and transnationalism.
Access to culture plays quite often a role in social cohesion and integration
programmes and in work carried out with minority groups and young people from
low-income areas. Therefore, also, it is quite revealing the way in which youth access
to culture is situated and even squeezed, incorporated or hidden in policies of
institutions and bodies responsible for education, youth, culture, employment, mobility,
and social issues at all levels.
Education and culture as well as education and youth policy are profoundly
connected. As a lot of the reference material shows that the role of cultural education is
a determining factor in making young people engaged in culture. When thinking of
cultural education we should be switching from education to learning in which a
personal creative experience forms the core of a learning process. For young people
education (art education, after-school programmes, and multicultural education)
functions as a window for accessing culture and for developing their creative potential.
This recalls the current debate on the number of art and culture hours that are being
taught at schools. On the one hand, equipping young people with a creative and cultural
curriculum since childhood seems to raise their self-awareness on their cultural rights
and might enhance their creative aptitudes. On the other hand there may be a need for
ensuring quality as well as quantity of artistic and cultural education, also promoting its
evaluation. We have also seen successful examples of cooperation between schools
and cultural institutions or organisations that encourage and motivate young people to
have an active interest in creation, production and cultural project-making.
Training, competence and capacity building is necessary not only to young people
themselves – since there are very high level cultural institutions in member states – but
also to people that work with young people and organisations so that they can improve
their knowledge and work methods.
Globalisation, transnationalism and pluralisation – the world is getting smaller and
more interactive. We observe a change from interculturalism to transnationalism where
cultural influences travel rapidly (online) from one place to another.
Increasing quest for sustainable ethos in terms of policies and practices – the
transmission of knowledge and skills from the technological generations to the
environmental generations. This will affect mobility, production and participation itself.
Commercialisation of young people’s daily life – market tendencies change rapidly
and consume is faster which represents a challenge for policy-planning.
Virtualisation and new technology of young people’s daily life.
Demographic hierarchies in aging European societies – new quest for democracy,
equality and generational policies. The decreasing number of young people might lead
to the increasing lack of their visibility in decision-making processes. Also, young people
remain in the parental home for ever-lengthening periods of time or return after leaving
e.g. for studies.
Climate of cynicism. There has been a palpable decline of trust in traditional
institutions across Europe’s subcultural resistance to commercial incorporation by those
who not only follow but actively co-create youth movements noticeable in many of the
reports.
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¾ Increasing uncertainty. There is a sense that life-paths are now more unpredictable
than ever. This is in part due to external factors including the present economic
downturn.
It is also important to underline that culture should not be used as a quick fix for social
problems. This can be seen for example in cases where ‘culture’ is used by the authorities for
‘youth correction’ or in cases in which ‘culture’ is used by young people themselves to get
engaged in extreme ideologies. We can also observe that cultural content is sometimes
embedded in politics and used in an inappropriate matter.
In this study we have focused on young people as users of cultural services and equipments and as creators to the extent that this has been possible. As our scope has been the 27
Member States with all the diversity within those (including different policies; opportunities; legal
frameworks; actors at national, local and regional level; keyholders in public administration and
at the civil society level; youth trends; obstacles; studies; statistics; obstacles to participation
and inspiring examples) we are aware that in the end this study is still a snapshot and not an
exhaustive review of all possible actions, initiatives and best practises in the field of young
people and access to culture. The study is constructed in a way that it invites to compare
information between countries even though it is not the main purpose since the reality and
administrative structure in each country is different.
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8. RECOMMENDATIONS
I. Proposals to the European Institutions
The European institutions should act in the following areas:
1. Exchanges of information
► Facilitate exchange and visibility of good practices between the Member States in
order to raise awareness on the issue
► Set up a European pool of successful examples and mechanisms involving young
people in diverse cultural activities
2. Involvement of EU stakeholders
► Encourage European networks in the fields of culture & arts and of youth to take on
board issues related to young people’s access to culture and to create partnerships
between youth and culture fields
3. Access to other cultures
exchange programmes
4. Better knowledge
► Support EU level research in the field of youth cultures, creativity, cultural
citizenship and the role of culture in social cohesion
► Develop data collection and statistics on youth access to culture within the EU.
II. Proposals to the Member States (national, regional or local levels)
1. Include “access to culture” as one of the important priorities in all policies
regarding young people
Access to culture is strongly connected with education, youth, employment, cultural
and media policies. Access of young people to culture is better promoted if young
people’s perspectives are included in the cultural policies and access of young people
to culture in youth policies, and if partnership is pursued between different fields.
Therefore the Member States, regional and local administrations should
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► Look for synergies and cooperation between different policies and programmes in
the above-mentioned action fields and include young people as a priority group in
all future policies, programmes and actions in the fields of culture and media
policies, with special attention given to young people in vulnerable situations.
► Further develop and strengthen existing bodies and structures through
partnerships, revision of policies and programmes, setting up goals and planning.
2. Develop normative and legislative tools on the access of young people to
culture
The legislation related to access of young people is still underdeveloped and does not
reflect the developments within the culture and youth field. The legal framework of the
Member States is in great part in a need of updating and specification.
► Open legislative processes for normative tools on fostering the access of young
people to culture.
► Develop systems for the follow-up of existing legislation.
► Put special attention to the legal framework related to the access of young people
from vulnerable groups (young people with disabilities, minorities, immigrant
groups).
3. Develop sustainable and long term policies related to youth access to culture
There is a need for constructive dialogue between all key actors and stakeholders at all
levels in a synchronised and collaborative manner in order to plan strategic approaches
and future challenges.
► Survey the needs and necessities of young people as regards cultural offer and
equipments.
► Provide access to spaces for gathering, creativity, peer-learning and cultural
activities for meaningful leisure time
► Promote involvement in community work and volunteering services in relation with
the access of young people to culture
► Initiate dialogue and cooperation with the private sector through common
strategies.
► Facilitate communication between cultural institutions and young people, and
promote programmes on cultural contents adjusted to the expectations of young
people.
► Develop differentiated policies and programmes for different youth groups.
► Envisage fiscal benefits for private institutions that work actively to develop youth
access to culture and invest on research on the involvement of the private sector.
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4. Take affirmative action in reducing obstacles for young people to access
culture
In the national reports elaborated for this study several elements have been identified
to be related to time and money constraints, attitudes, lack of transport, geographical
disadvantages and the incompatibility between cultural offer and the interests of young
people.
► Survey the main obstacles for young people to access culture in the given country /
region.
► Set up strategies to lower entrance costs for cultural institutions and more youthfriendly informal environment of cultural offer.
► Adjust timetables, cost and security of public transportation to facilitate the access
of young people to cultural institutions and services.
► Promote self-generated organised activities for young people instead of ‘top-down`
structures.
► Involve young people in decision-making processes to the extent possible.
► Encourage dialogue between school and local authorities to make local cultural
offer adjust to the needs of young people.
► Encourage cultural participation of young people in disadvantaged geographical
areas (rural, economically challenged, islands, etc.) through new technologies,
specific programmes and displacement of cultural activities to remote or
disadvantaged areas.
► Promote family activities in order to engage young people in cultural activities from
an early age, and family policies on cultural understanding, information, gender
equality and cultural diversity
► Strengthen information channels both on existing cultural offer and on eventual
discounts/reductions available for young people.
5. Encourage and support education, training and capacity-building
The educational sector is one of the main allies in fostering access of young people to
culture. For the young people to be able to access culture, it is crucial to encourage
cultural and art education, training and capacity- building for all young people at formal,
non-formal, in-school and out-of-school levels.
► Promote specialised training for teachers, youth workers and culture professionals
in youth cultures, new technologies, intercultural competences, arts education,
cultural rights and cultural awareness with special emphasis on access to culture.
► Develop channels and opportunities for young people to enlarge their cultural and
creative expressions and development, in or outside of school.
► Increase opportunities for young people to work in the cultural sector starting, for
example, with volunteering or internships, thereby promoting safe and inspiring
spaces for the development of creativity.
► Involve public institutions, cultural organisations and civil society actors in the
process of building bridges between education/skills and employment of young
people and, fostering therefore young people’s active citizenship.
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► Set up employment programmes, social entrepreneurship schemes and small
funding programmes for young creators, artists and cultural professionals, as well
as youth associations and organisations.
6. Promote visibility and knowledge of youth cultures
The national reports elaborated for this study show that, even if young people are one
of the most visible members of a society, their image is often processed as
unfavourable, negative and problem-filled. For young people to be able to participate in
the society as members of full rights and responsibilities, and feel themselves
recognised and respected, there is a need for a change in this projection.
► Promote information on youth cultures, creativity and expression.
► Set up specific channels for young people to display their creative material in
public (festivals, TV programmes, and other channels).
► Promote partnership between youth groups, creative sectors and youth workers.
7. Promote access to culture as part of strategies of social inclusion, antidiscrimination and equality
Regardless of growing multiculturality in Europe there is a need for more strategies
where cultural policies and actions can be seen as an important element of antidiscrimination policies and concrete practices against racism and inequality. The
actions in this field should be long-term, systemic and structurally promote access.
Actions in this field foster understanding and respect for cultural diversity, develop
intercultural skills and, stimulate passive and disadvantaged young people to
participate in cultural experiences.
► Implement programmes and strategies to support access to culture for young
people from vulnerable groups (culture networks, educational programmes,
intercultural working groups, etc.), thereby promoting social cohesion.
► Set up specific programmes for people and organisations that work with young
people on themes such as access, cultural rights, programming, marketing,
awareness-raising and creativity.
► Encourage the participation of young people from vulnerable groups in arts and
culture education and creative entrepreneurship.
► Promote the visibility of minority youth in public media.
exchange programmes.
► Encourage language tuition and learning at all levels
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8. Promote the use of ICT and new technologies for cultural purposes among all
young people
The digital environment is a key factor in today’s youth culture; it can be used as a
vector of cultural participation.
► Facilitate access to new technologies for all young people in order for them to
develop their cultural, creative and expressive skills.
► Encourage the communication and media literacy skills of young people, also in
their role of arts creators online.
► Develop a critical approach to the quality of online information, always taking into
account safety aspects regarding internet use.
► Foster information on intellectual property, proper use of Internet and social
responsibility.
► Promote creative use of ICT through programmes and specific tools.
9. Support research, knowledge building and information exchange
Research and information is needed from different areas in order to build a knowledge
base for policies and strategic planning.
► Support research in the field of youth cultures, creativity, cultural citizenship and the
role of culture in social cohesion.
► Develop a set of indicators and follow-up systems to measure the access of young
people to cultural institutions, activities, equipments, education, cooperation and
intercultural communication.
► Identify themes for further research together with research professionals and young
people.
III. Proposals for the civil society
1. Cultural institutions should help providing access to enabling and supportive
environments for young people to access culture and creative expression
► Carry a more proactive role in issues related to young people’s access to culture.
► Develop initiatives where young people are involved in all levels of decision-making
(planning of programmes, management of budget, maintenance, marketing, design
of activities, etc.).
► Engage in specific communication towards young people regarding their activities,
in particular through digital educational instruments, other methods of new
technologies and specific programmes on cultural contents adjusted to the
expectations of young people
► Participate in public efforts for reducing obstacles for young people to access
culture
► Contact private foundations and donors in order to engage them in working in
favour of youth access to culture
► Adjust timetables of cultural activities addressed to young people in order to
synchronise with the daily lives of the young people.
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► Promote self-generated organised activities for young people
2. Youth organisations and those active with young people should also play an
active role in promoting youth access to culture.
► Develop partnerships with creative sectors
► Encourage culture related-projects for young people in their activities.
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ACCESS OF YOUNG PEOPLE TO
CULTURE
FINAL REPORT
ANNEXES
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ANNEXES
1
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ANNEX I. REFERENCES .................................................................................. 3
1. Bibliography ........................................................................................................................................3
2. European Guidance Documents.........................................................................................................28
3. Other reports ......................................................................................................................................29
ANNEX II: TABLES ......................................................................................... 33
Table 1. Ratification, accession or succession of some international treaties and other instruments on
culture, children and youth protection by the Member States of the European Union ..........................33
Table 2. Legal elements related to access and participation in cultural life in the European
Constitutional framework ......................................................................................................................34
Table 3. Elements related to access, cultural rights and young people in constitutional provisions......36
Table 4. National bodies specialised in youth policies and affairs ........................................................41
Table 5. Other national ministries envolved in youth policies...............................................................43
Table 6. National bodies responsable for research, gathering and disssemination of information related
to the access of young people to culture ................................................................................................45
Table 7. Institutions and actors at sub-national level.............................................................................47
Table 8. National youth institutions.......................................................................................................50
ANNEX III: ADDITIONAL INFORMATION ...................................................... 55
1.
Definition of youth in Europe ......................................................................................................55
2. National Studies and statistics ...........................................................................................................57
ANNEX IV: NATIONAL BEST PRACTICES.................................................... 76
ANNEX V: CASE STUDIES........................................................................... 183
1. Museum Online ...............................................................................................................................183
2. Chitalishte System and Agora Platform...........................................................................................186
3. People in Need.................................................................................................................................191
4. Youth Initiatives Project ..................................................................................................................195
5. Netari - Online Youth Work in the Internet.....................................................................................198
6. La Jeunesse (ça) se cultive (Jeunesse Ouvrière Chretienne)............................................................200
7. The StrangerFestival........................................................................................................................203
8. Unidos por el Flow ..........................................................................................................................206
9. Young Tate ......................................................................................................................................209
ANNEX VI: RELEVANT DOCUMENTS ......................................................... 212
Summary of the Access to Culture Platform Policy Paper ..................................................................212
General Comment 21: The right of everyone to participate in cultural life .........................................214
ANNEX VII :QUESTIONNAIRE ..................................................................... 233
VIEWS OF YOUNG PEOPLE ON ACCESS TO CULTURE .......................... 238
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ANNEX I. REFERENCES
1. Bibliography
Aapola, Sinikka & Kaarninen, Mervi (2003): Nuoruuden vuosisata. Suomalaisen nuorison
historia, Suomalaisen Kirjallisuuden Seura, Helsinki.
Abrams, M. (1959): The Teenage Consumer. London: Press Exchange.
Adorno, T. and Horkheimer, M. (1979): Dialectic of Enlightenment. London: Verso.
Arts Council of England (ACE) (2007): More than potatos. Making the most of the arts in early
years settings, ACE, London.
Arts Council of Northern Ireland (2007): Investing in Youth Work, Belfast.
Arts Council of England (2006): Children, young people and the arts: West Midlands Strategy,
ACE, London
Arts Council of England (2006): Children, young people and the arts: Yorkshire Strategy, ACE,
London
Arts Council of England (2006): Every Child Matters. Beyond enjoying and achieving. Children,
young people and the arts. (film)
Arts Council of England (2006): The Young People’s Arts Award Pilot.
Arts Council of England (2005): Children, young people and the arts, ACE, London
Arts Council of England (2005): Children, young people and the art: South East Regional
Strategy, ACE, London
Arts Council of England (2005): Children, young people and the arts: London Regional Strategy,
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study of Greek-Cypriot youth conducted by the Research and Development Centre – Intercollege,
on behalf of the Youth Organisation of Cyprus.
Making Commitments Matter: a Toolkit for Young People to Evaluate National Youth Policy
(2003), United Nations, Economic and Social Affairs
Making Youth Arts Work (1993): National Youth Arts Committee.
Medierådet for børn og unge (Awareness Node Denmark) (2009): Digitalt børne- og ungdomsliv
anno
2009.
Available
at:
http://andk.medieraadet.dk/upload/6_summary_med_grafer_og_kommentarer.pdf
(Last
consulted in March 2009)
MEeting YOUth: Evaluation report of the recent EU project MEeting YOUth: “How to engage
youth
–
the
best
practise
report
from
MEeting
YOUth”,
available
at:
http://www.aakb.dk/graphics/portal/young/Best%20practice%20report%20til%20Anna.pdf (Last
consulted in May 2009)
National Strategy Report on Social Protection and Social Inclusion, 2006-2008, Hungary.
National strategy and priorities, "European year of intercultural dialogue 2008", Hungary.
Proposals regarding the youth policy (2004): Uj Ifjusagi Szemle.
Reconsideration of the state and civil aspects of the youth institutional system (2004): Uj Ifjusagi
Szemle.
Présentation des principaux résultats de l’enquête Conditions de vie des étudiants 2006 :
Observatoire de la vie étudiante.
Regards croisés sur les pratiques culturelles Loisirs et culture : La Société française
contemporaine, n°291, La Documentation Française.
Report to the European Commission on youth participation (2004): Hungary.
30
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Report on the Hungarian National Youth Policies (2007): Elaborated by the Institute for Political
Science of the Hungarian Academy of Sciences, Budapest.
Report of the Government of the Republic of Hungary regarding the Durban Review Conference
(2008).
Research of youth social and political activities in Latvia (2007). Laboratory of Analytical and
Strategic Study Ltd for the Ministry of Children and Family Affairs.
Review of the Cyprus Youth Policy (2005): Cyprus National Report, Editors: Youth Board of
Cyprus. Available at: http://www.youthboard.org.cy/Youth_Policy.pdf (Last consulted in March
2009)
Strategic Plan on Culture (2008): Report by Ministry of Education and Culture. Available at:
http://www.moec.gov.cy/stratigikoi_sxediasmoi/pdf/29_1_2008stratigikossxediasmos_gia_ton_politismo.pdf (Last consulted in March 2009)
Study of Leisure Time, Employment, Relationships, Perceptions and Problems of Cypriot Youth (in
Greek) (2007): Longitudinal research study of Greek-Cypriot youth conducted by the Research and
Development Centre – Intercollege, on behalf of the Youth Organisation of Cyprus.
The 2007-2013 Strategy. The Education and Culture Ministry: Hungary.
The concept of youth, the publication of the Children and Youth Conference.
The history of youth issues in Hungary (2007): Uj Ifjusagi Szemle.
The location and its youth (2008): Conference material, Szombathely, Supported by the Social
and Labour Ministry, Hungary.
The Participation of Young People in the Arts in Ireland, A Proposed policy and action plan for
the period of the third Arts Plan 2002: The Arts Council, Marieva Coughlan MA MPsychSc MBA.
The peace of youth - a possible youth policy scheme (2003): Uj Ifjusagi Szemle.
The Public and the Arts’ Arts Council of Ireland (2006).
The Analysis of the Youth Policy in Hungary (2007): International evaluation, The Council of
Europe, the Directorate of Youth and Sport.
The National Youth Strategy (2008): The decision of the national meeting.
Views of Theatre in Ireland (1995): Arts Council.
Young Europeans. A survey among young people aged between 15-30 in the European Union
(2007): Flash Eurobarometer, 2002.
Youth government (2005): The civil youth annual report, Uj Ifjusagi Szemle.
“Youth Drama Ireland”, National Association for Youth Drama.
Youth Hungarians (2004): Research report.
Youth Participation, Citizenship, Democracy: Learning the Skills of Active Democratic
Participation (2001): NYCI, Dublin.
“Young Pavee Voices”, Pavee Point, Pavee Point/Youth Start, n.d., Dublin.
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Youth Policy in Hungary (2008): Report of the Council of Europe, international review team.
Youth Policy in Cyprus (2005): Report by international team of experts, Council of Europe,
presented in Strasbourg on 11 October, 2005 to the Joint Council on Youth. Available at:
http://www.youthboard.org.cy/pdf/yp_cyprus.pdf]. (Last consulted in March 2009)
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ANNEX II: TABLES
Table 1. Ratification, accession or succession of some international
treaties and other instruments on culture, children and youth protection
by the Member States of the European Union
International
Covenant on
Economic,
Social and
Cultural Rights
(UN, 1966)
Convention
on the
Rights of the
Child
(UN, 1989)
Austria
Belgium
Bulgaria
Cyprus
Czech
Republic
Denmark
Estonia
Finland
France
Germany
Greece
Hungary
Ireland
Italy
Latvia
Lithuania
Luxembourg
Malta
Netherlands
Poland
Portugal
Romania
Slovakia
Slovenia
Spain
Sweden
10.9.1978
21.4.1983
21.9.1970
2.4.1969
22.2.1993
6.8.1992
16.12.1991
3.6.1991
7.2.1991
22.2.1993
Convention
concerning the
Prohibition and
Immediate Action
for the Elimination
of the Worst Forms
of Child Labour
(UN, 1999)
4.12.2001
8.5.2002
28.7.2000
27.11. 2000
19.6.2001
6.1.1972
21.10.1991
19.8.1975
4.11.1980
17.12.1973
16.5.1985
17.1.1974
8.12.1989
15.9.1978
14.4.1992
20.11.1991
18.8.1983
13.9.1990
11.12.1978
18.3.1977
31.7.1978
9.12.1974
28.5.1993
6.7.1992
27.4.1977
6.12.1971
19.7.1991
21.10.1991
20.6.1991
7.8.1990
6.3.1992
11.5.1993
7.10.1991
28.9.1992
5.9.1991
14.4.1992
31.1.1992
7.3.1994
30.9.1990
6.2.1995
7.6.1991
21.9.1990
28.9.1990
28.5.1993
6.7.1992
6.12.1990
29.6.1990
14.8.2000
24.9.2001
17.1.2000
11.9.2001
18.4.2002
6.11.2001
20.4.2000
20.12.1999
7.6.2000
2.6.2006
29.9.2003
21.3.2001
15.6.2001
14.2.2002
9.8.2002
15.6.2000
13.12.2000
20.12.1999
8.5.2001
2.4.2001
13.6.2001
18.12.2006
18.12.2006
18.12.2006
18.12.2006
12.3.2007
3.1.2007
9.5.2008
22.12.2006
19.2.2007
6.7.2007
18.12.2006
18.12.2006
18.12.2006
9.10.2009
17.8.2007
16.3.2007
20.7.2006
18.12.2006
18.12.2006
18.12.2006
18.12.2006
UK
11.6.1976
16.12.1991
22.3.2000
7.12.2007
1
European Community Accession 18.12.2006
33
The Convention on
the protection and
promotion of the
diversity of cultural
expressions
(UNESCO, 2005)1
Convention on
the Rights of
Persons with
Disabilities
(UN, 2006)
18.12.2006
26.9.2008
2.7.2009
18.12.2006
19.12.2006
28.9.2009
24.7.2009
24.9.2009
20.7.2008
23.9.2009
24.4.2008
3.12.2007
15.12.2008
8.6.2009
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Table 2. Legal elements related to access and participation in cultural life
in the European Constitutional framework
Access and participation in cultural
Constitutional provisions of the Member States
2
life
Access of young people to culture
Participation
of
young
people
France, Romania (Portugal)
in
Spain, Romania
cultural life
Access
to culture
and/or cultural
Hungary (of young people), Portugal, Romania, Spain
creation
Access to the values of national and
Bulgaria, Romania
universal culture
Access to means and instruments of
Portugal
cultural action
Access to heritage
Slovakia
Access to means and instruments of
Portugal
cultural action
Assuring cultural conditions for all
Portugal
Access to the products of culture
Poland
Cultural associations, cultural groups,
Hungary, Poland, Portugal
neighbourhood associations
Cultural conditions in health
Portugal (of children, young and elderly)
Cultural democracy
Portugal
Cultural rights of specific groups
Portugal (young, disabled and elderly)
Cultural rights of minorities
Belgium, Bulgaria, Estonia (specific law on cultural and ethnic minorities),
Finland, Hungary, Latvia, Lithuania, Romania, Slovakia (explicit mention on
minority cultural rights), Slovenia, Sweden,
Cultural
rights
of
nationals
living
Bulgaria
abroad
Cultural values
Bulgaria (access to national and cultural values)
Dignified cultural life
Belgium
Freedom of creativity, creation or
Belgium, Bulgaria, Estonia, Germany, Hungary, Latvia, Poland, Portugal,
artistic expression
Slovakia, Slovenia, Spain, in case of Lithuania the unrestricteness of culture.
Freedom of expression, information,
Most of the countries
press, religion
Promotion or protection of cultural
Bulgaria (including state support to talented students), Hungary, Germany,
development,
Greece, Malta, in Belgium the wording is freedom of the Development of the
arts
or
Progress
(including arts education)
arts.
Protection of cultural heritage
Portugal
Preservation of cultural identity
Bulgaria
Provision of cultural welfare
Sweden
Right to participate in cultural life
Portugal,
Right to culture (public at large)
Finland, Greece, Hungary, Latvia, Lithuania, Portugal, Sweden
Right to cultural development / to
Belgium, Bulgaria, italy, the Netherlands
2
From Laaksonen (2009)
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develop culture
Access and participation in cultural
Constitutional provisions of the Member States
life
Right
to
cultural
enjoyment
and
Portugal
creation
Right to education
All (even though Austria and France do not make an explicit mention in the
Constitution)
Right to enjoy cultural products or
Poland
goods
Right
to
free
development
of
Germany, Greece
everyone’s personality
Right of everyone to develop or
Spain
exercise their traditions, culture
Rights of citizen living abroad to
Romania
maintain link with national culture
Quality of life
Portugal
Citizen obligation
Slovakia (obligation to protect and enhance cultural heritage)
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Table 3. Elements related to access, cultural rights and young people in constitutional provisions
Legal elements
Country
Details
Cultural Rights
Portugal
The Portuguese Constitution (1976 with several later amendments) has a whole
chapter dedicated to cultural rights and duties (Articles 73-79) that include mentions
related to access to culture in several parts as well as themes such as democratisation
of education, right to enjoyment and creativity and the right to culture. The Portuguese
Constitution even mentions young people as a specific target group whose cultural
rights should be provided for and protected. The only cultural duty that the Constitution
mentions is the responsibility of all citizens to preserve, defend and increase the
cultural heritage.
Access of young people to culture
France
The Preamble of the French Constitution of27 October 1946 includes in its Article 13
the access to culture by assuring “the equal access of the child and the adult to
instruction, professional formation and culture". The preamble of the Constitution of
1958 remits directly and specifically to the preamble of the Constitution of 1946 this
meaning that consequently the elements contained in the Constitution of 1946 are
considered as constitutional and in effect.
Portugal
Even if the aforementioned Portuguese Constitution does not mention explicitly the
access of young people to culture, the context of the specific article dedicated to
young people and the protection of their cultural rights is the most advanced in the
European context. The constitution places legal and normative bases for the primary
objectives of a policy for youth like the creation of conditions that enable them to lead
a full and active life and to acquire a sense of service to the community.
Romania
The Romanian Constitution (1991 with amendments in 2003) affirms in the Article 49
that the authorities are obliged to contribute to the assuring of the conditions for free
youth participation in the political, social, economical, cultural and sport life of the
country.
Spain
The Spanish Constitution (1978) - even though it does not mention explicitly the theme
access – indicates in the Article 48 that “The public authorities shall promote
conditions for the free and effective participation of young people in political, social,
economic and cultural development.”
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Young people
Cultural rights of young people
Austria
The Austrian Constitution (adopted in 1920, reinstated in 1945) refers in its Article 12
to the division of powers regarding the general laws on youth – the federal
responsibility is to issue laws on youth welfare and the provinces have the
responsibility to draft laws and execute them
Hungary
The Article 16 of the Hungarian Constitution refers to a special attention that should be
placed for securing the existence, education and training of young people as well as
the protection of their interests. The Hungarian Constitution does, though, distinguish
between mandatory and voluntary tasks and, with the exception of education youth
policies, fall under voluntary tasks and there is no legal act which specifies public
services related to youth - this meaning that youth policies are subject to changing
priorities and procedures. Hungary is the only transition country that did not adopt a
new Constitution after the fall of communism. The 1949 Constitution was, however,
heavily amended in 2003.
Italy
The Italian Constitution (1947) has an Article regarding the responsibility of the state to
protect motherhood, childhood and youth.
Belgium
The Belgian Constitutional Law (from 1831) mentions in its Article 23 that “every
person has the right to lead a worthy life” and “every person has the right to cultural
and societal development”.
Bulgaria
The Bulgarian Constitution mentions in the Article 53.6. the state support for talented
students [of any discipline] as well as the development of personal potential (Art 4).
The Finnish Constitution mentions in the Article 16 the freedom of the arts, science
and higher education
Finland
Germany
The German Constitution assures that arts, science, research and teaching are free
(Article 5.III).
Portugal
The Portuguese Constitution underlines the creation of economic, social and cultural
conditions that secure the protection of children, the young and also the old. In the
Article 9d the Constitution states that the state’s responsibility is "to promote the
welfare and quality of life of the people, and actual equality between Portuguese
citizens in their enjoyment of economic, social and cultural and environmental rights,
through the transformation and modernisation of the economic and social structures"
(Article 9 d). Furthermore it refers to cultural education and cultural development in the
Article 42.2. and, as mentioned earlier, has a whole article on cultural rights of young
people (Article 70). The Article 73.2. of the Constitution states that:” The State shall
promote the democratisation of education and the other conditions that enable
education, both at school and elsewhere, to contribute to equality of opportunity, to
surmounting economic, social and cultural inequality, to the development of the
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personality and the spirit of tolerance, mutual understanding, solidarity and
responsibility, to social progress and to democratic participation in public life".
Access to culture / cultural life
Spain
The Spanish national report used for this study states that: “The specific emphasis
which Article 48 places on participation of young people, including participation in the
cultural field, has led some authors to argue that public policies in the field of youth in
Spain have been traditionally oriented towards the promotion of participation. 'The
existence of Article 48 confirms that some specific forms of promotion of participation
should be exclusively applied to young people. This amounts to saying that youth
policies in democratic Spain should primarily involve, according to the Constitution,
actions to promote participation and to foster training and information on rights and
3
duties.'
Bulgaria
The Bulgarian Constitution (1991) guarantees in the Article 54 the Right to access to
national and world cultural values and freedom to develop one’s ethnic culture in any
activity that is not out of the law. The article 54 follows loosely the structure of Article
15 of the International Covenant on Economic, Social and Cultural Rights (United
Nations, 1966) as Article 54.2. refers to the freedom of arts, scientific and
technological creativity. Furthermore, the Bulgarian constitution assures the access to
information (Art. 41) and state support for the development of science, education and
the arts (Article 23).
Poland
Access to culture is mentioned in the Polish Constitution (1997) in its First Chapter,
Article 6.1.
Portugal
Again, the Portuguese Constitution mentions the right to access of everyone to
creativity, cultural activities and the ‘fruits’ of culture: in Article 73 point 3.“to develop
cultural relations with all peoples, particularly those that are Portuguese-speaking, and
ensure the protection and promotion of Portuguese culture abroad; and to co-ordinate
the policies for culture with other state policies.” (Article78)
Romania
The Romanian Constitution, amended in 2003, states in the Article 33:
"(1) Access to culture is guaranteed by law.
(2) A person's freedom to develop his / her spirituality, and to get access to the
values of national and universal culture, shall not be limited.
3
Comas Arnau (2007), p. 14. Translation by Jordi Baltà.
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(3) The State must make sure that spiritual identity is preserved, national culture
is supported, arts are stimulated, cultural legacy is protected and preserved,
contemporary creativity is developed, and Romania's cultural and artistic values
are promoted throughout the world."
Right to culture
Slovakia
The right to access to cultural heritage is included in the Article 43.2
Spain
The Article 44 of the Spanish Constitution establishes that ‘The public authorities shall
promote and watch over access to culture, to which all are entitled’
Sweden
The constitution recognises the provision of cultural welfare of private citizens as a
fundamental aim of public activity (together with personal and economic welfare) in
Charter 1, Article 2.
Finland
The article 17 of the Contitution underlines the right of ethnic communities to foster
their language, culture and customs
The article 16 of the Constitution includes the right to culture.
The right to culture is included in the Article 70F
The article 114 underlines the right of ethnic communities to foster their language,
culture and customs.
Section 37 underlines the right of ethnic communities to foster their language, culture
and customs.
The right to culture is mentioned in the Article 73.1.
In Charter 1 the article 1 underlines the right of ethnic communities to foster their
language, culture and customs.
The right to cultural development in mentioned in the Article 23.5.
The right to free development of everyone’s personality is mentioned in the Article 2.1.
The right to free development of everyone’s personalty is mentioned in theArticle 5)
The right to cultural development in mentioned in the Article 8
The right to cultural development in mentioned in the Article 9
The Dutch Constitution mentions in the Article 22.3 that the government is assigned to
create adequate conditions for cultural development for all citizens and their recreation
The freedom artistic creativity (Article 42), cultural education and development (Article
42.2.), the right to cultural enjoyment and access to creativity (Article 73.3.), cultural
democracy (Article 73.3.).
The freedom of artistic creativity is mentioned in the Article 5.III
The freedom of artistic creativity is mentioned in the Article 73
Greece
Hungary
Latvia
Lithuania
Portugal
Sweden
Right to cultural development
Belgium
Germany
Greece
Malta
Italy
The Netherlands
Portugal
Freedom of artistic creativity
Germany
Poland
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As some of the Member States have a decentralised structure, this is sometimes reflected also in the legal framework. The German national report prepared
for this study states that:
“Over the past years, high-profile debates have demanded an amendment of the constitution to include culture as a goal of the state. Others have sought to
anchor the rights of children and young people in the Basic Law (GG – Grundgesetz). None have so far come to fruition. By contrast, the Länder constitutions
enshrine the right to education and development as well as the responsibility for young people explicitly. With the exception of Hamburg, they also enshrine
culture. Bavaria, Brandenburg and Saxony make culture key to the nature of the state. Some ensure public support to culture ("The Land protects and
supports cultural life"; Berlin, Article 20.II). Some explicitly ensure access to culture, e.g. the constitution of the Saarland or the Rhineland-Palatinate ("All
people are to be given the opportunity to make use of the cultural goods of life."; Article 40.III). In municipal constitutions and Art. 28.II of the GG,
municipalities are enabled, within the existing legal framework, to regulate their local tasks in self-governance. However, while held to consider tasks of
culture, these tend to remain legally voluntary at municipal level; youth services provision however is mandatory.”
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Table 4. National bodies specialised in youth policies and affairs
Country
National bodies specialised in youth policies and affaire
Austria
The Federal Ministry of Economy, Family and Youth; main tasks related to youth policies
are encouraging youth participation at all levels of the society (not only political);
research; financial support for youth organisations; providing young people with all kinds
of information
There are several ministries in Belgium for youth policies; since youth policy is a
community competence each linguistic community (the French speaking, the German
speaking and the Flemish Community) has its own specialised bodies. The French
community has a Ministry of Health, Childhood and Youth Assistance and a Ministry of
Youth and Social Promotion Education that deal with youth policies. The Flemish
Parliament has a Commission for Culture, Youth, Sport and Media. The German
Community has a Ministry for Culture and Media, Monument Conservation, Youth, and
Sports.
The State Agency of Youth and Sport
The ministry of Education, Youth and Sports
Belgium
Bulgaria
The
Czech
Republic
Cyprus
Denmark
Estonia
Finland
France
Germany
Greece
Hungary
Ireland
Italy
Latvia
Lithuania
Luxembourg
Malta
The
Netherlands
Poland
Portugal
The Youth National Agency of Cyprus.
The Ministry of Education of Denmark controls Youth Guidance Centres that focus on
guidance related to the transition from school to youth education or, alternatively, to the
labour market
The Department of Youth under the Estonian Ministry of Education and Research.
Youth division of the Department of Cultural, Sport and Youth Policy under the Ministry
of Education and Science. The main instrument of the Youth Division is “Young Culture”
(Nuori Kulttuuri), dealing among other areas with new and experimental culture, selfmotivated artistic pursuits and expressions.
The Ministry of Youth, Sports and Voluntary Sector has a High Commissioner for Youth,
as well as Youth Affairs and Continuing Education Directorate. The Ministry of Culture of
France has no department dealing directly with youth, and issues related to access to
culture are situated under the responsibilities of almost all departments ( Department of
Book and Reading, Department of Architecture and Heritage, Department of Dance and
Music, Department of Museums, etc.).
The Ministry for Family, Senior Citizens, Women and Youth has a section dedicated to
Youth Participation with a unit whose tasks explicitly include cultural education, and
another on Children and Youth Welfare. It oversees federal laws, implements the
Children and Youth Plan, commissions Youth Reports, and supports supra-regional
bodies and pilot projects.
General Secretariat for youth.
The Children and Youth Department under the Ministry of Education and Culture:
initiates and monitors programmes in the field of education, art, media, audio-visual
sector; coordinates cultural and tourist projects for young professionals and minority
groups, and deals with equal opportunities for disadvantaged groups of the population.
Since 2005 there is a Minister of Children and Youth Affairs, aiming “to improve the lives
of children and young people and bring greater coherence to policy making for children”.
The Ministry for Youth Policies, established in 2006.
The Youth Advisory Council and the Ministry of Children, Family and Integration Affairs
has a section for Youth Affairs and Coordination of Youth Policy
A specialised Department of Children and Youth Affairs, aiming at strengthening youth
motivation to obtain education and employment, and to be actively involved in the social
and cultural life of the country. There is also a Parliament Commission for Youth and
Sport on the legislative level, set up in 2007, where arts and culture are still not included.
The National Youth Service (Service National de la Jeunesse, SNJ) under the Ministry of
Family and Integration; in charge of the implementation of youth policy including nonformal education and leisure activities
The Youth Department under the Ministry of Education, Culture, Youth and Sport,
implementing Youth national policy.
The Ministry of Youth and Families that cooperates with various ministries. It runs the
Youth and Family programme that includes tasks related to education, leisure time and
participation.
The Polish Parliament has a permanent Committee for Education, Science and Youth.
The Ministry of Youth, Sports and Drug Misuse. Within this Ministry, there are two state
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Romania
Slovakia
Slovenia
Spain
Sweden
The
United
Kingdom
secretariats in charge of youth and sports respectively. The " Drug Misuse " programme
is run entirely by this Ministry. The Portuguese Youth Institute is the main body behind
the implementation of central government youth policy. Its main role is to coordinate the
policy and to do so, it works hand in hand with the other youth organisations.
The National Authority of Youth, set up as a central public administration body, initiating
and applying youth policies. Subordinated bodies are: the National Agency for supporting
youth initiatives, an agency that offers support to students, as well as students’ cultural
and youth county departments across the country.
The Government Council for Children and Youth, with representatives of 7 ministries and
10 key NGOs and NGO leaders.
The Office for Youth (Department for Youth) under the Ministry of Education and Sport,
dealing with planning, organisation and implementation of measures in the areas of
youth policy, social policy for children and young people, education and informal
education, leisure activities, culture, public information and international cooperation. A
new Government Council for Youth Issues was established in 2009, dealing especially
with youth policies in all areas.
The Institute of Youth (Instituto de la Juventud, INJUVE) that was first set up in 1985 and
has experienced an interesting transition, from its initial integration in the Ministry of
Culture (1985-88), through the Ministry of Social Affairs (later renamed the Ministry of
Employment and Social Affairs 1988-2008), to its recent adoption by the newly-created
Ministry of Equality (2008-). The Ministry’s structure indicates that its competences have
a transversal nature. The Institute’s aims include fostering equal opportunities among
young people. Specific objectives include promoting participation of young people in civic
organisations and supporting youth cultural activities and the knowledge of other
cultures.
The Swedish National Board for Youth Affairs, governmental agency that works to
ensure that young people have access to influence and welfare.
The Department for Children, Schools and Families was created in 2007, focusing at:
making children and young people happy and healthy, keeping them safe and sound,
giving them a top class education, helping them stay informed. The work of the DCSF is
largely driven by the 2007 Children’s Plan, devised by the DCSF. The Children’s Plan
(www.dcsf.gov.uk/childrenspan/) focuses on greater support for young people in relation
to families, schools and education. Also, the Department for Culture, Media and Sport
(DMCS) – the DCMS (www.culture.gov.uk) is a Government department concerned with
‘improving quality of life’ for people living in the UK, specifically in relation to culture and
sport. There is a vibrant agenda in relation to young people, with this department leading
on some of the key policy initiatives in the UK at present in relation to young people and
their access to culture, most notably the DCMS leaving on the Find Your Talent initiative
that is currently being piloted in 10 cities, actors the UK.
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Table 5. Other national ministries envolved in youth policies
Country
Austria
Belgium
Bulgaria
The
Czech
Republic
Cyprus
Denmark
Estonia
Finland
France
Germany
Greece
Hungary
Ireland
Italy
Latvia
Lithuania
Luxembourg
Malta
The
Netherlands
Poland
Portugal
Other national ministries envolved in youth policies
The Federal Ministry for European and International Affairs has a cultural policy
department. The Federal Ministry of Economic Affairs and Labour and the Federal
Ministry of Interior are reported to also be indirectly involved with youth issues.
The Ministry of Communication (Department of Antiquities) and the Ministry of
Commerce and Industry (Handicraft Centre).
The Ministry of Refugee, Immigration and Integration affairs has a broad national
campaign “We Need All Youngsters” 2002-2010) with the aim to ensure that a greater
number of young people with non-Danish ethnic background enrol for completing youth
educational programme.
The Ministry of Culture of France has no department dealing directly with youth, and
access to culture issue is under the responsibilities of almost all departments
(Department of Book and Reading, Department of Architecture and Heritage,
Department of Dance and Music, Department of Museums, etc.).
The Ministry of Foreign Affairs has a unit for culture and communication, and is
responsible for international schools, youth and sport abroad, as well as culture and
cultural dialogue. Other ministries with relevance in youth affairs, if not necessarily in
reference to culture, are those of Work and Welfare, Domestic Affairs, and Justice
The Ministry of the Interior, Secretariat General of Communication (this substitutes the
Ministry of Press nowadays in Greece and one of its programmes deals with the
relationship between children & young people and the media – organisation of field trips
of media experts to schools etc.- www.minpress.gr ) and the Ministry of Foreign Affairs (
e.g. “The Next Generation Initiative” – introduced in 2002 and concerns the visit to
Greece of U.S. university students and their introduction to Greek foreign policy and
similar issues – www.mfa.gr ).
The Ministry of Labour and Social Issues.
The Department of Art, Sport and Tourism.
The Ministry of Internal Affairs (regarding young people’s social problems), Ministry of
Social Affairs (perceiving young people as a socially marginalized group).
The Ministry of Foreign Affairs and Ministry of Regional Development and Local
Government.
The Ministry of Tourism.
The Ministry of Labour and Social Policy, Ministry of Sport and Tourism and Ministry of
Interior and Administration (dealing with ethnic minorities, information society, language
policy).
The Ministry of Science, Technology and Higher Education has some tasks related to
youth concerning higher education.
Romania
Slovakia
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Slovenia
Spain
Sweden
The
United
Kingdom
The Ministry of Foreign Affairs.
4
Spain has an Interministerial Youth Commission set up in 1986 . Currently chaired by
the Minister for Equality, involves one representative from each governmental
5
department.
The Ministry of Integration and Gender Equality is responsible for the coordination of the
Government’s youth policy, issues affecting youth organisations and international youth
exchanges.
The Department for Communities and Local Governments, focusing on leisure spaces
and young people, as well as Ministry of Justice
4
The decentralised nature of Spain’s institutional and administrative model means that competences in the field of
youth and cultural policy, including those referring to access of young people to culture, are dispersed among a range of
tsegments of government and separate bodies.
5
Its aims include “to submit proposals on policy programmes for young people which integrate the economic, social,
political, cultural and training factors which affect the process of young people’ s integration in active social life. ” “to
coordinate youth-related initiatives by individual ministries” and to “to devote particular attention to proposals and
initiatives formulated by Spain’s Youth Council.” Real Decreto 1923/2008 de 21 noviembre. Translation Jordi Baltà.
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Table 6. National bodies responsable for research, gathering and
disssemination of information related to the access of young people to
culture
Country
Austria
Belgium
Bulgaria
The
Czech
Republic
Cyprus
Denmark
Estonia
Finland
France
Germany
Greece
Hungary
Ireland
Italy
Latvia
Lithuania
Luxembourg
Research, gathering and dissemination of information related to the access of
young people to culture
Institut für Jugendkulturforschung und Kulturvermittlung (Institute for Youth and Culture
Research). Specialised on standardised youth surveys, focus groups and group
discussions, problem-oriented qualitative interviews, expert interviews and evaluation
studies in the field of youth research, youth politics and youth work (www.jugendkultur.at)
The study group on participation (ARGE Partizipation) is a national initiative coordinated
by the state to measure youth participation
The Observatory for Children and youth was created in 1999, aiming at gathering
resources, initiating programmes and projects, disseminating information on the rights of
children and youth to participate in the social, political and cultural life.
(www.oejaj.cfwb.be)
Youth Research Platform (Jeugdonderzoeksplatform) collects information on children
and young people and make it accessible to all parties
The National Children and Youth Institute (NIDM) is dealing with after-school education
and activities, assisting other organisations with methodological and organisational
support, providing services to school clubs and after-school care centres, administrating
national registry of researchers on children and youth. (www.nidm.cz)
The Centre for the Study of Childhood and Adolescence. A non-governmental, non-profit
organisation which conducts research on children and adolescents
The Danish Centre for Youth Research is part of Danish University of Education,
established in 2000. The main research priorities are: youth and work, youth and
education, youth and democracy, youth and marginalisation, youth health and lifestyle.
The Estonian Youth Institute (www.eni.ee) carries out reseach, cooperation, information
dissemination and organises seminars and workshops
The Finnish Youth Research society, founded in 1988 to promote cross-disciplinary
youth research, as
well as the
Finnish
Youth Research Network.
(http://www.nuorisotutkimusseura.fi/sivu.php?artikkeli_id=72 )
Institut
National
de
la
Jeunesse
et
de
l’Education
Populaire
(http://www.injep.fr/rubrique.php3?id_rubrique=22)
Both the Ministry for Family, Senior Citizens, Women and Youth and the Ministry for
Education and Research commission research on youth education, including cultural
education. The German Youth Institute (Deutsches Jugendinstitut, DIJ), founded by
decision of the German Parliament, is the main non-university social science research
centre on youth issues and also provides information and consultation services. A range
of other agencies and independent foundations also produce research in cooperation
with the relevant Ministries. The German Institute for International Educational Research
describes and analyses educational development in Germany and other countries.
(www.dji.de)
The National Institute for Youth Research
The Childhood and Youth Research Initiative. A multi-disciplinary research initiative
consisting of academic staff and students with a specialist interest in childhood and
youth research in University College Dublin.
The National Childhood and Adolescence Documentation and Analysis Centre
(http://www.minori.it/)
The National Youth Research Centre CESIJE works as an interdisciplinary research group and is part of the "Integrative Research Unit
on Social and Individual Development (INSIDE)" at the University of Luxembourg. It
belongs to the INSIDE research axis "Contexts and Structures of Growing up".
(http://wwwen.uni.lu/research/flshase/study_centre_cesije)
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Malta
The
Netherlands
Poland
Portugal
Romania
Slovakia
Slovenia
Spain
Sweden
The
United
Kingdom
The Department of Youth and Community Studies within the Faculty of Education of the
University of Malta deals with research in the area of youth and community studies.
Nederlands Jegdinstituut (The Netherlands Youth Institute), a national institute for
compiling, verifying and disseminating knowledge on children and youth matters. Also
SCP – Netherlands Institute for Social Research (http://www.nji.nl/)
Youth Research Centre at the University of Warsaw
Instituto Portugues da Juventude with the mission to support the definition,
implementation and evaluation of public governmental youth policies, ensuring their
implementation and promoting youth participation in all areas of life. Also Observatório
Permanente da Juventude that focuses on research on socio-cultural issues and youth.
http://www.juventude.gov.pt/Portal/
Youth research centre
(http://www.infosan.ro/research.htm)
The Slovak National Youth Institute IUVENTA, CERYS (Center of European and
Regional Youth Research in Trnava, Slovakia).
(http://www.slovakia.culturalprofiles.net/?id=9280)
Centre for Child and Youth Research -Lararhogskolan Stockholm
(http://www.su.se/pub/jsp/polopoly.jsp?d=6417)
Centre for the Study of Childhood and Youth. UK National Children’s Bureau, (Also UK
Children regional chapters in Northern Ireland, Scotland, Wales). The UK also has
Young Researcher Network at The National Youth Agency and Young People in Focus
(Trust for the Study of Adolescence). (http://www.cscy.group.shef.ac.uk/ )
(www.ncb.org.uk/)
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Table 7. Institutions and actors at sub-national level
Country
Austria
Belgium
Bulgaria
The
Czech
Republic
Cyprus
Denmark
Estonia
Finland
France
Germany
Institutions and actors at sub-national level
Cultural departments and departments for youth affairs of each provincial government.
Also at the regional level there are youth councils that consult and advice the regional
6
governments and youth departments.
7
Youth services and local urban youth services in municipalities , also provincial and local
youth councils
There are local employees with training in the youth field of General Directorate “Policy
for Youth” at the State Agency for Youth and Sports, who are regional coordinators for
8
youth activities in 16 towns . At the regional level, in different municipalities, there are
units dealing with youth affairs but they are independent and implement their activities in
the youth field within the budgets of different municipalities and their structure depends
on the Municipal Council. The mandate of these municipal units is equal to the mandate
of the municipal administration, which is 4 years. So, there is no unified structure at the
regional level.
Česká rada dětí a mládeže (ČRDM)/the Czech Council of Children and Youth came into
existence in 1998. It is composed of almost 100 non-governmental children and youth
organisations with more than 205 000 individual members – the organisations range
from very small to the biggest ones around the Czech Republic. 12 Regional Youth
Councils are members of the Czech Council of Children and Youth. They are very active
and contribute to all conceptual materials of the Ministry of Education.
Municipal Youth Councils: a participatory institution that started in Cyprus in 2002 with
the support of Local Administration and the Youth Board of Cyprus. This programme's
main objective was to accordingly address and provide various youth organisations the
opportunity to participate in the decision-making process, which will facilitate Local
Administration in the identification of young people's concerns and interests. Currently
there are eight Municipal Youth Councils in Cyprus. The Youth Board of Cyprus supports
the institution of the Municipal Youth Councils with yearly operational funding, as well as
additional financial support for their activities.9
Committees for education and culture within municipalities, also dealing with issues
related to young people. The 2007 Municipal Reform gave much greater financial
sustainability and responsibility in the hands of municipalities.
Most of the local authorities are involved in youth work via their county governments.
Each of the 15 county governments employs one chief expert on youth work. There are
altogether 18 youth information and counselling centres in 15 counties. The main level of
organisation of youth work is local government, which delegates its youth work duties to
the third sector by way of outsourcing, if possible. Youth centres are managed either by
local government or by private organisation.10
Main actors are municipalities, as basic units involved in public sector youth work, and
whose duties are determined in the Youth Act,. Each local authority has independent
discretion in terms of the extent and implementation of services. In addition, several local
authorities have prepared child and youth policy programmes within their municipalities
and half of the municipalities have established a youth council or an equivalent institution
for listening to young people
The Regional Direction of Cultural Affairs (DRAG) as well as offices for Territorial,
educational and cultural initiatives under the Ministry of Youth, Sport and Voluntary
Sector
Given Germany’s pronounced federal system, the core competencies in culture and
education, and an important share for youth affairs in Germany, lie with the 16 Federal
States, the Bundesländer. Their Ministries of Cultural Affairs, Youth and Education, or
6
Youth councils exist in Voralberg, Salzburg, Niedoreesterriech, Oberoesterreich, Burgenland, Viena and Steiemark
Examples out of many: the Gemeentelijke Jeugddienst Nieuwerkerken – Municial Youth Service in the city of
Nieuwerkerken organises activities for children, teenagers and young people. The same way the J Jeugdcentrum
Vleugel F // VZW Stedelijk Jeugdwerk Leuven is the official youth office for the city of Leuven.
8
In towns of: Blagoevgrad, Burgas, Varna, Kurdzhali, Pernik, Pleven, Plovdiv, Razgrad, Ruse, Silistra, Sliven, Smolyan,
Stara Zagora, Haskovo, Shumen, and Yambol.
9
http://www.cyprusnet.com/article_youth-board-of-cyprus) Last update 2005
10
The Government has delegated some of its responsibilities to county governors, including the co-ordination of the
drafting and implementation of the national youth policy in the counties and supervision over the use of funds allocated
for youth work from the state budget in the counties;
7
47
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Greece
Hungary
Ireland
Italy
Latvia
Lithuania
Luxembourg
Malta
The
Netherlands
Poland
Portugal
Romania
Slovakia
Slovenia
Spain
11
combinations thereof, are responsible for administration, setting policy priorities, funding
regional projects, and supporting both public and non-governmental bodies that provide
the services in the policy fields. Local authorities in turn take up the lion share in funding
and implementing youth and cultural policies; some bigger cities have developed
integrated policy plans.
11
Local youth councils set up in some municipalities and communities
One of the main issues in the youth field in Hungary is access to culture outside big
cities. In this respect, some towns have created the “youth desk offices,” which manage
youth-related issues within the local authority, and work with NGOs and regional
representatives of the Mobilitas service. However, there are many disparities: on the one
hand, between the youth culture in the cities and in the rural areas, and on the other,
between the western part and the eastern part of the country. Most youth-related
activities are delivered by NGOs,. The provision of youth tasks is a responsibility of local
governments as established in the Act of Local Governments. Mobilitas operates both at
the national level and through its 7 regional offices. Since 1990 Hungary’s youth policy
has been marked by youth legislation and decentralization or regionalization that is the
local governments’ self administration. There are also local student councils, the
membership of young people in representative bodies and NGOs. Traditional culture,
theatre and literature are relevant in youth local policy. There is also the Foundation for
Democratic Youth, a non-political and non-profit organisation to build a youth service
infrastructure, with similar programmes in 7 neighbouring countries, the regional civil
centres, and many other organisations. The main forms of youth services at the subnational level are performed in the youth community areas, community centres,
information offices. Yet the local youth policy in Hungary consists in supporting
initiatives, not providing targeted offers thus much youth work is done by the young
people themselves, not by professional youth workers. There are times when the youth
work is taken as social work, therefore lacking an occupational profile. Youth bodies get
support from the Regional Youth Services (RISZI), the regional arm of Mobilitas.
An Arts Office attached to each local authority with provision for culture at local level
often with an emphasis towards youth participation
The Ministry for youth policies distributes special youth funds for municipalities that are
active in youth-related issues. Given the lack of a national framework legislation on
young people, municipalities – and particularly the culture and social departments
(Assessorati alla Cultura; Assessorati alle Politiche sociali) – have a very specific
function in terms of direct responsibilities, while provinces and regions have a coordinating role as well as allocation of funds.
State-supported local youth centres established since 2004. There is also a network of
municipal youth affairs coordinators
Youth affairs coordinators within municipalities
Local Youth councils do not exist. The local youth policy is debated within the Municipal
Youth Policy Commissions. Some towns have taken (temporary) initiatives such as youth
forums and youth parliaments.
Eight Youth Empowerment Centres in different municipalities
By 2011 all municipalities have to have means to consult and advice young people in
order to make their voice heard in decision-making processes
Local youth councils, associations and organisations
The Portuguese Youth institute acts locally through its information ‘spots’ and
municipalities have different structures for youth participation that include support
programmes and projects of leisure time
Romania is divided in forty-one counties which as divided in cities and communes. The
directorates for culture, religious affairs and national heritage carry out the task of the
Ministry of Culture and Religious Affairs at the local level. They do not directly work with
youth. The PAL-TIN network (Youth Participation in Local Government) is a large
network of local youth and children’s councils (today more than 90).
Local youth councils, associations and organisations
50 local youth councils, communicating with the city councils and local communities
Regional governments are responsible for a series of culture-related matters and most
regional governments have set up specific bodies in charge of youth policy, which can
take the form or either a directorate-general within the structure of a regional ministry or
an autonomous body or agency. Youth councils exist at regional and local level, their
membership and nature varying. While other regional councils are full members of the
Spain’s Youth Council, the Catalonia’s National Youth Council – Consell Nacional de la
Source: www.tosyn.gr
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Sweden
The
United
Kingdom
Joventut de Catalunya does not and, is recognised by the European Youth Forum as a
separate, full member
A number of Swedish municipalities (there are 290 in total) have structures for young
people’s participation and influence as well as dialog between young people and
decision makers in the municipalities. How these structures are organised and which
themes they focus on varies from municipality to municipality. The forums might be
named e.g. youth councils, youth forums, youth delegations or youth parliaments. Some
of them promote their own questions, others have an advisory function to politicians and
civil servants, some function as a formal referral body and some might have all or
several of these functions.
Youth councils are community, voluntary forums that represent the views of young
people at a local level. Youth Councils can also be called Youth Forums and in this form
they are often more issue based. The British Youth Council helps them in their work.
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Table 8. National youth institutions12
Country
Austria
Belgium
Organisation
Austria National Youth
Council
Function
Bundesjugendvertretung (BJV), the representative body for youth organisations in Austria. BJV is an umbrella organisation for Austrian organisations that
represents Austria in various national and international bodies
Kulturkontakt
Flanders: Flemish Youth
Council
Artists’ visits to schools, training of teachers, collaboration between schools and museums, culture education
Official advisory of the Flemish government on children and youth. Main focus – “participation in the society”
Emphasis on the relationship between youth and culture-overcoming obstacles:
To convince cultural institutions and policy-makers to reduce prices and stimulate cultural participation of young people
To establish partnership
To make young people active participants
To inform young people on cultural activities
Under the Ministry of Culture
(Under DAYS)
Wallonia: Youth Council
Bulgaria
Cyprus
Network of Chitalishta
Network of Youth Information
and Consultation Centres
State Institute for Culture
Youth Board of Cyprus (YBC)
Cyprus Youth Council (CYC)
Czech
Republic
National Children and Youth
Institute NIDM – www.nidm.cz
National Youth Information
Centre (NICM)
Czech National Agency
Mladez/Youth –
www.mladezbakci.cz
12
(Ministry of Foreign Affairs)
Governing board, consists of representatives from youth organisations of each political party, and three members directly appointed by the Council of
Ministers. Supported by state subsidy. Areas:
values of democracy, social inclusion, cultural diversity, European youth mobility and exchange;
promotion of young people’s active participation in social economic and cultural development
promotion of volunteerism
providing information to youth
supporting employment and entrepreneurship
international cooperation
Umbrella organisation for 51 member organisations (political and non-political9 from both communities of Cyprus
spare education and activities
methodological and organisational support for work with children
services to school clubs and after-school care centers, NGOs, regional authorities
administers national registry of researchers on children and youth
concentrates all information
consultations and services for children and youth
popularising national strategy for youth
grants for support of international spare-time activities of young people;
advices to people with the frame of educational programme of EU Youth in Action
organises training for improvement of qualification of people who work with youth
hosts EURODESK
Public and non-public entities and umbrella organisations
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Czech Council of Children and
Youth
Denmark
Chamber of Youth
Network for Children and
Culture
(since 2003)
Danish Centre for Youth
Research
Danish Youth Council
Estonia
Estonian Youth Work Centre
(Estonian Youth Work Centre)
Finland
The Council of Youth Policies
Estonia National Youth
Council
Advisory Council for Youth
Affairs (NUORA)
Youth Organisation Subsidy
Committee
(since 1998): compises of 100 NGOs with 250 000 individual members-regional youth councils are members of CCC
Advisory organ of the Ministry of Education, Youth and Sport:
grant policy for children and youth
state policy for young generation
execution of Council of Europe recommendations
Inter-ministerial advisory body to the MoC: representatives from MoC, MoE and Ministry of Social Welfare co-ordinates the tasks within the area of children,
culture and the arts. Focus mainly on 2-14 years olds, but exploring a possibility to also include 14-18 years olds: a new project started to collect info on
existing activities and new working methods as young people have different needs and attitude to access culture. - A great initiative and there is a need for a
similar framework for youth!”
Coordinates research, part of Danish University of Education (since 2000):
Youth and work
Youth and education
Youth and democracy
Youth and marginalisation
Youth, health and lifestyle
The main administrative body for youth policy measure under the supervision of the Ministry of Research and Education
Advisory body to the Minister of Education and Research with representation of youth associations delegated by the Estonian National Youth Council
Umbrella organisation of 51 youth organisations in Estonia. Among its activities it fosters the participation of young people in society.
Advisory body to the Ministry of Education with focus on youth policy
with the objective to promote young peoples’ active citizenship
Finnish Youth Research
Society and its Finnish Youth
Research Network
Umbrella organisation to some 100 member organisations with the purpose to promote the interests of national youth and youth work associations
France
Finnish Youth Cooperation
Allianssi
National Institute for Youth
Affairs and Continuing
Education
National Youth Council
Umbrella organisation composed of representatives of political or national union associations and of the 176 provincial councils for youth, sport and
associative life
Umbrella organisation with 72 national associations and federation for youth issues and people education
Committee for national and
international relations of Youth
association and people
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Germany
Greece
Hungary
Ireland
education
German Federal Youth
Council
Bundesvereingung Kulturelle
Jugendbildung (BKJ)Specialised culture councils
Deutcshe Kinder-und
Jugendstiftung foundation
Youth Parliament (established
1996)
Hungarian Institute for Culture
and Sport
Association of Youth
Experts
Ombudsman for Children
National Children’s Office
National Youth Council of
Ireland
Umbrella organisation for youth organisations, regional youth councils and affiliated organisations.
Represents the interests of 50 supra-regional specialised institutions, service providers and associations of cultural youth education. Has a strong influence
on the cultural sector
At sectoral, land and federal level
Umbrella organisation for 59 youth organisations that functions as an official spokesperson of the youth to the government
Supports youth volunteer groups, interests of young people, fosters dialogue with local and international partners
Represents youth initiatives network, facilitates cooperation between experts in youth affairs(
National Institute for Youth Research: Directorate of Youth and Sport
European Youth Centre, Budapest
Umbrella organisation of more than 80 youth organisation with the aim to foster the participation of young people in decision-making processes
Ensures that government decisions are in the best interests of young people (since 2002)
to implement national children strategy (established 2001)
representative body for national voluntary youth work organisations, represents the interests of 50 voluntary youth organisations (since 1967)
A result of National Children Strategy, represents the views of children and young people
Youth Parliament
Italy
Irish Secondary Students
nd
Union (2 level)
Irish Secondary Students
rd
Union (3 level)
National Forum of the
Student’s Associations
National Youth Agency
(Agenzia Nazionale per i
Giovani (ANG)
National Civil Service
Latvia
Created by the Ministry for Education for the cooperation between the Ministry and student associations
Administers EU funding through the programme “Youth in Action”, and develops initiatives in cooperation with other institutions
Temporary institutional activity addressing young people. Provides training programme for youth (18-28):
Training opportunities
Solidarity (social behaviours)
Employability
Social meaning
Active citizenship
(associations, parties, unions)
Umbrella organisation for children and youth public organisations, members are youth organisations and associations
Gathers the views of young people
Helps youth to implement various NGOs
Represents youth interests in international and national policies and events
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Lithuania
Luxembourg
Malta
The
Netherlands
Poland
Portugal
Council of Youth Affairs
Promotes youth organisations
Motivates youth to get involved
Network of student and school children councils- to lobby and unify interests of young people and administration of educational institution-to obtain active
participation of pupils in educational work
Established by the Department of Youth Affairs-12 members
Council of Lithuanian Youth
Organisations
Self-dependent umbrella organisation for youth organisations and regional unions of youth organisations
Agency for International Youth
Cooperation
The National Youth Service
Under the Youth Department at Social Welfare Ministry
Higher Youth Council
An advisory board for youth issues with representation of youth organisations
Luxembourg Youth council
National Youth Council (KNZ)
Umbrella organisation of youth organisations
A representative body of young people in Malta with the objective to influence on youth policies and increase the participation of young people and youth
organisations in decision-making processes as well as to achieve equal rights and opportunities for young people.
Department of Youth and
Community Studies, Faculty
of Education, University of
Malta
Polish Youth Council
Children and youth Council of
the Minister of National
Education
Center of Civil Education
Portuguese Youth Institute
Youth National Council
Local Youth associations
Federation
The public administration in charge of the implementation of youth policy.
Carries out research, training and social dialogue in the areas of youth and community studies
Umbrella organisation for national youth organisations. The thematic areas include Youth Culture and Leisure Time (e.g. music culture). The Council
represents youth at the governmental level to strengthen youth participation.
Independent organisation with representatives of all Polish youth organisations; represents Polish youth interests to the government and international arena
(est 2003)
Advisory body
NGO-runs the programme Education Policy of Local Governments
The main objective of the institute is to influence sectorial policies related to young people (employment, health, housing, entrepreneurship)
Umbrella organisations with an advisory role in national youth policies
Private organisation that has an advisory role in national youth policies. The main objective if to foster youth integration in social and professional life.
Fundação da Jueventude
Romania
Regional Youth Association
Federations
Romania Youth Council
National platform that gathers most of the non-governmental youth organisations active at the national level, as well as international NGOs working in
Romania and county level youth foundations /NGOs.
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Slovakia
Slovenia
IUVENTA
Youth Council of Slovakia
Zipcem, the Assocation of the
Youth Information and
Counseelling Centres
National Youth Council of
Slovenia
Spain
Spanish Youth Council
Sweden
The National Council of
Swedish Youth Organisations
UK
Slovak National Youth Institute
Umbrella organisation of more than 40 children and youth organisations. Main tasks are related to advocacy in legislative processes , and participation in
policy formulation. Main issues include informal education, volunteer work, youth access to culture
Umbrella organisation of the Youth Information centres active in different parts of the country
Umbrella organisations of national youth organisations: implemens activities in the field of social policy for youth, education, leisure time activities, culture,
public information and international cooperation
Youth centers and clubs
Student organisations
Platform of young orgnisations whose members are regional youth councils operating in Spain as well as other national youth organsations. Their objectives
include promoting youth participation in the cultural development of Spain.
Umbrella organisation for almost 100 Swedish youth organisations
Youth Councils of Sweden
Umbrella organisation for local youth councils
The Swedish National Board
for Youth Affairs
British Youth Council
National Youth Agency
Institute for youth research including the themes of participation, democracy and integration
UK Youth Parliament
Youth Culture Trust
OFCOM
Run by young people
Supporting body for the government, focus on youth services, youth work, uses research with young people; interaction between young people and policy
makers.
run by young people for young people (since 1999)
overseas implementation of youth culture related policy
Regulatory body overseeing broadcasting and communications in UK, lead studies – incl. on young people and media literacy (2004-2008)
54
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ANNEX III: ADDITIONAL INFORMATION
1. Definition of youth in Europe
Official definitions. The category of youth in strict numerical terms covers different ages
depending on the geographical and institutional background contributing to a heterogeneous
picture with no agreed parameters. Sometimes the age borders are based on the international
institutions declarations and documents, as that of the UN (people from 0 to 18 years old), EU
(people from 16 to 25), Unesco, etc. In some countries there are official delimitations of the
young ages, that varies in the year of entrance (from 8 to 18) and in the year of exit (18 to 34),
but they are rarely universal and can be different depending on the institutional area (education,
labour market, penal system, youth services, etc). The only common stage is the age of majority
(18 for all the countries except in Ireland where it is 16), but this has little relevance when
considering access to culture. The three examples below illustrate the differences that exist:
Finland: In the Youth Act young people are defined as “those under 29 years of age”.
Following this rather loose definition, young people constitute 36 % of the population of
Finland. However, most of the youth services are targeted at teens. People younger
than that would rather be considered as children. At the other end of the scale, hardly
any administrative sector offers youth services for 28-year-old youngsters. For instance,
in the social services, youth services are targeted at those less than 25 years of age. In
public debate young people are probably most commonly referred as those between 15
and 24 years of age.
Germany: The law defines all persons under the age of 14 as children. Those who are
at least 14, but have not yet turned 18, are designated “young people” (Jugendliche).
While the age of reaching adulthood before the law is 18 (cf. the youth criminal law),
youths between 18 and 21 are defined in the Children and Youth Welfare Law as
“adolescents” (Heranwachsende). Many statistics and policies have a further category,
“young adults”, which describes young persons until the age of 27.
Slovakia: The discussion on definition of the term “young person” stems from two basic
sources – European and international documents on the one hand, and national
legislature and public policy documents on the other. With regard to international
documents, these are primarily the definitions of young people as presented by the
European Union and Council of Europe. However, the age limit of the term “youth” is left
ambiguous, as shown by two documents adopted at European level – the White Paper
on Youth13 and European Framework for Youth Policy14. While the White Paper limits
“youth” to persons aged 15-25 years, the European Framework for Youth Policy
recognises the difficulties of such a regulation, and deliberately omits an age
specification. In this respect, Slovakia follows the European trend and has defined
young people as within an age limit of 15-25 years in its public policy documents15. With
respect to the adoption of new grant conditions for the Youth in Action grant
programme, this limit has been amended to ages 13-30 since 2007.
Statistical definitions. Most EU countries tend to focus on the 15-24 decennial cohort but in
the case of Mediterranean ones this could be extended to the next cohort: 25-34 (this
demonstrates the extension of the youth period). Cultural industries also categorizes youth as a
marketing “segment”, as reflected in some cultural and media surveys, that distinguish between
tweens (8-13), teens (14-17) and youth (18-25).
13
European Commission White Paper – a new impetus for European Youth, adopted by the European Commission on
the 21st of November 2001
14
European Framework for Youth Policy, adopted by the Council of Europe, 2004
15
For example, the aforementioned Conception of State Policy Towards Children and Youth in the Slovak Republic until
the year 2007; Key Areas and Action Plans of State Policy in Relation to Children and Youth in the Slovak Republic in
2008 – 2013
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Ireland: Young people are described in ‘official terms’ in Ireland as ‘children,’ as ‘youth’ or
as ‘young people’. ‘Children’ is the official description of persons under the age of 18.
‘Youth’ or ‘young people’ is a term used more vaguely in terms of describing a particular
age group. Some organisations refer to the term ‘youth’ in relation to 12 – 18 years,
others 15 – 24, and others 18 30. It is this lack of clarity around those deemed to be
‘youth’ under 18 years of age that leads to a lack of clarity in terms of youth policy.
According to State of the Nations Children Stats (2005) 25% of population is aged under
18. This is much higher than the EU25 figure of 19.8%. According to the Central Statistics
Office Ireland’s population has grown by 16% between 1997 and 2006 to four and a
quarter million people. More than 10% were born outside of Ireland.
Italy: There are 15 million people between 15 and 34, who represent the 25% of the
whole population. As well as in other Mediterranean countries, the trend in Italy is to
consider people as belonging to the youth group until 34 and some policies in Spain are
increasing addressing young people to be those before the age 35 (and not until 26 as
defined by the UE): the reasons behind it are that people enter the labour market in a
stable way at around 38 and they give birth to children at an average age of 33. Also the
a quo term to define young people varies in official documents between 13 and 15.
Social definitions meanwhile are based on educational degrees (secondary, high), associative
framework (the age for being member of youth councils and youth branches of the political
parties), media representations (young people as problem or idol), and so on. Those social
images can be incorporated into several “generational leitmotifs” or terms of shorthand
stereotyping as appears in the reports: “Generation X”, “Y”, “Network”, to name but a few. For
the purposes of young access to culture, maybe it is more relevant to some national and
European programmes that facilitate the access to some services, practical rights and fees
reductions: youth card, student card, youth cultural pass, youth hostel pass, inter-rail, etc. The
Danish report illuminates some pertinent examples:
Denmark: Young people have no established terminology in the field of culture. In art
forms, young people are included in the terms: youth theatre, youth films and teenage
fiction. In media and public debate, the young have been given several names, reflecting
the image this group has in public debate: “Generation Y”, ”MeWe-generationen”,
”Generation Fremtidsplan (plan-for-the-future-generation)”, ”Millennium-generationen”,
”Generation Happy?” as well as in the less flattering terms ”Generation Dumb (stupid)”
and ”Generation Fucked Up”.
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2. National Studies and statistics
All-European level
The 2007 Eurobarometer study explored people’s understanding on the concept “culture”.
Among people between 15 and 24 years of age, 34% answered arts (performance and visual
arts), 28% picked traditions, languages, customs and social or cultural communities and 20%
literature, poetry, playwriting and authors. Educational level showed to be a clear key factor, as
those with higher education are significantly more likely to link culture with the arts (52%),
almost twice as high as those who finished their studies at the age of 15 or before (27%).
The answers on the individual importance of culture clearly indicate that culture – regardless of
how it is defined – holds an important role in the lives of many Europeans. Over three quarters
(77%) of the interviewees answered that culture is important to them; 31% that culture is very
important and 46% that it is fairly important. Of the remaining 22% considering that culture is not
important to them personally, only 5% said that it is not important at all. A key sociodemographic factor in the personal importance of culture was again the level of education, with
those educated until 20 and beyond (89%) were considerably more likely to say that culture is
important to them than those who finished their education at the age of 15 or before(66%).
Regarding the involvement in cultural activities (cultural consumption), respondents were asked
how many times, if at all, they had taken part in various cultural activities over the last 12
months. Age seems to play a role as regards participation rates, as the rates declined as
respondents got older. Such an effect is more visible in activities such as going to the movies,
as 82% of those in the 15-24 bracket had done this in the past year, compared to the 24% of
those aged 55 and over, a difference of 58 percentage points.
In the following graphics (table) taken from the Eurobarometer survey (2007) we can observe
the participation rates for selected activities by age and by education:
Book reading is the most common activity amongst the youngest age group. As observed in the
former Eurobarometer survey (2006): “(...) this comes despite the fact that the recent qualitative
study found that there is a perception that ‘literary culture’ is on the decline amongst the young
due the availability of the Internet and audio-visual media”.
The level of education seems to affect all activities covered in this survey, with highly educated
people participating more in cultural activities.
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In general, participation in artistic activities tends to be lower than cultural consumption.
Participation rates are higher amongst the youngest age groups: dancing is the most frequent
activity (29% amongst those aged 15-24) while activities such as decorating, handicrafts and
gardening have the lowest participation rates among young people.
Education has an impact also here : “(…) the longer a respondent has spent in education, the
more likely they are to have indulged in creative or artistic activity over the past year”. This
relationship is particularly pertinent when it comes to photography and film-making (educated to
20+, 39%; finished education at 15 or before, 14%; 25 points difference).
A survey on the influence of the internet in the lives of individuals has shown that a big part of
the youngest respondents use internet for leisure16. They are doing so for a wide range of
purposes, and as for many internet activities, results are higher among the youngest surveyed
age groups. The most striking example of this is downloading free music, half (50%) of the
internet-users between 15 and 24 do this - a figure 42 points higher than the 8% registered
amongst internet users aged 55 and above.
As regards the issue of access to culture, most respondents experience barriers.
The main reason given is the lack of time, cited by 42%. After this, issues of money and prices
are stated by almost 3 out of 10 (29%) with the lack of interest mentioned by a similar figure
(27%). 44% of the respondents aged 15-24 say that lack of time can prevent them from
engaging in cultural activities. Lack of time is also a bigger problem for the group that has
studied the longest (49%) than it is for those who have studied less (30%).)17.
Another source for comparative cultural information is the Eurostat Pocketbook from 2007 on
Cultural Statistics. The Pocketbook breaks culture down into sixty activities running from crossrelating “domains” to six “functions”.18 Compared data includes the number of tertiary students
in different art fields but also the number of foreign languages learned by pupils in public
16
Only 15% of those aged 15-24 say they do not use the internet in their free time, compared to 76% of those aged 55
and over, from TNS Opinion & Social (2007), European cultural values, Brussels, DG EAC p. 24
17
TNS Opinion & Social (2007), European cultural values, Brussels, DG EAC
18
The eight domains were artistic and monumental heritage; archives; libraries; books and press; visual arts;
architecture; performing arts and audiovisual/multimedia and the six “functions” were conversation, creation, production,
dissemination, trade and training.)
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education systems.19 In the tables related to the number of students in arts and their fields, it
can be observed that in average 3.9% of European students study in the field of arts with two
member states reaching more than 10% (Malta and Ireland) and Portugal with 1%. This is
shown in the following graphics taken from the Eurostat Pocketbook 2007:
As regards the field of studies humanities - as a culture-related field - is most popular in
Germany, Denmark and the United Kingdom whereas arts disciplines are most common in
Malta, Ireland and the United Kingdom as seen in the following table:
19
Percentage of pupils at ISCED levels 2 and 3 learning from none to more than 3 languages. At USCED level 3 the
highest number of pupils learning foreign languages in 2003/2004 were in Luxembourg (90.1%), Finland (60.7%), the
Netherlands (55.6%) and Estonia (46.8%) and the number of pupils not learning any foreign language were the highest
in the United Kingdom (88.5%), Portugal (44.9%) and Malta (18.7%). At level 2 in 2004/2005 the corresponding number
were: more than 3 languages (the Netherlands 66.9%, Luxembourg 52.9% and Finland 23.6%) and none (the United
Kingdom 39.3%, Ireland 12,3% and Slovenia 4.8%). In general in at level 2 in all countries more than 50% learn at least
1 foreign language.
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The culture statistics also show that female students dominate all the other culture-related areas
expect architecture and building. The percentage of female students in humanities in average is
68% and in the arts 61.5% while in architecture and building 35.9%.20
20
The highest number of female students in humanities: Cyprus 85.9%, Latvia 81% and Estonia 78.1%. In the arts:
Latvia 72.9%, Estonia 72.9% and Italy/Greece both 67%. In architecture and building: Greece 51.1%, Romania 49.8%
and Italy 42.6%.
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As regards participation, the Pocketbook underlines that only a fairly small part of the population
uses cultural facilities. The statistics show that in 2007, 88% of students in the European Union
had been to the cinema at least once in the last 12 months and 72% had visited a public library,
72% had visited historical monuments, 60% had visited museums or galleries, 58% had been to
a concert, 46% to theatre and 24% had seen a dance or opera performance. The statistics do
not show significant differences between different age groups with the exception that young
people (15-24 years old) seem to visit public libraries and go to concerts more than the rest of
the population. Young people also seem to read more than the rest of the population (82% at
least once – the percentage of young people that have not read any book in the past twelve
months was also lower than that the rest – 17%).
The participation of young people in amateur artistic activities is also more active than the rest
of the population. We can also observe that the more educated the young person is, more likely
he or she is engaged in creative activities.
Information on the time spent in cultural/leisure activities by age groups is only available from 7
countries21 and shows an average of 2.1 daily hours of watching TV and videos22 and less than
1:30 hours dedicated to entertainment, culture, reading, computer games and radio and music.
21
22
Germany, Spain, France, Italy, Finland, Sweden and United Kingdom.
From 1:26 in Italy to 2:21 in the United Kingdom
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Another interesting fact that comes out in the Pocketbook but has not been extensively
analysed in the national surveys, is the cultural employment of young people that in all Member
States is lower than the rest of the population.
National level
Most countries have not identified young people as a relevant target group, even while
conducting statistics on the participation in cultural activities on a regular basis. There are also
countries such as Cyprus23 that have yet to compile statistics related to culture that are
accessible to the public. In general, access of young people to culture and the arts remain to be
explored in depth. For example, in spite of of the abundance of youth studies, in some countries
such as Denmark, there are not that many national studies on the participation of young people
in culture, especially when it comes to other than statistical information on attendance or cultural
offer. Many youth studies do not even include culture and art aspects in their scope. Countries
that do have statistical information24 – at least to some extent - on youth participation in cultural
23
Even though in Cyprus there are no official cultural statistics on the participation of young people in culture but some
general studies by private universities on behalf of the Ministry of Education and Culture and/or the Youth Board on the
cultural life of young Cypriots.
24
For example in Austria ARGE Partizipation in Austria is a joint initiative of the state and the federal states dealing with
measure for youth participation. ARGE is a study group composed by representatives of the youth departments and
promotes participation of young people on all levels of public life, including cultural life even thought there is not
separate study for culture
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life include Belgium25, Bulgaria26, Cyprus27, Estonia28, Finland29, France30, Germany31,
Greece32, Hungary, Italy33, Ireland34, Latvia35, Lithuania36, Luxembourg37, Malta38, the
Netherlands39, Poland40, Portugal, Romania41, Spain42 Sweden43and United Kingdom44
Studies on the access of young people to culture
There are not many studies carried out specifically on the access of young people to culture but
some examples do exist. One of these is a survey on the Accessibility of culture in the regions:
interrogatory and expert interviews in Latvia that was commissioned in 2007 by the Ministry of
Culture and carried out by the Baltic Institute of Social Sciences. The survey shows that 61% of
the respondents mention obstacles in accessing culture (in 2001 87%) and that inhabitants of
Riga attend more professional cultural activities due to more offer, better income and higher
25
Lievens & Waege, 2005, De Ridder & Vandercammen, 2008, Graffiti jeugddienst vzw & Jeugdwerknet, 2008.
Information obtained from the Belgian report.
“Cultural attitudes and consumption of cultural products in Bulgaria” from 2005 gives information on the participation
of the public in culture even though it does not separate young people as a specific group. The 2004 analysis on reading
habits by the sociological agency ASSA-M shows that the number of young readers in Bulgaria had increased by 15%.
27
Perhaps the most relevant study, which examined the cultural habits and norms of Cypriots (sample size 932 people,
aged 15 and over), was one conducted in 1999 by the Research and Development Centre – Intercollege, entitled
Cultural Life in Cyprus (in Greek). The study was conducted on behalf of the Ministry of Education and Culture. Another
study in 2007 “Study of leisure time, employment, relationships, perceptions and problems of Cypriot Youth”, a
longitudinal research study of Greek-Cypriot youth was conducted by the Research and Development centre on behalf of
the Youth Organisation of Cyprus.
28
“The Culture Consuming Survey 2003”
29
Statistics Finland. The results show no significant differences in cultural habits between young people and other age
groups. The theme of the Youth barometer study in 2009 was the participation of young people in culture. In Finland
Nuorisobarometri (“Youth barometer”) is a yearly publication on the values and habits of young people in Finland
published by the Advisory Council for Youth Affairs (even though the actual research is conducted by the Finnish Youth
Research Society). The topic changes from year to year and 2009 was dedicated on arts and culture.
30
Les pratiques culturelles des Français
31
Centre for Cultura Research (2006); the first empirical study on the cultural tastes and habits of young people; the
Deutsche Bühnenverein, Deutsche kulturrat (2005). See also National Education Report 2008, the Freiwilligen Survey
2007,
32
«Η Νέα Γενιά στην Ελλάδα σήμερα» (“Youth in Greece today”) by the Media and Communication Department of the
University of Athens in collaboration with the market research company ALCO. The study covered a sample of 1,600
young people from 15 to 29 years old. This survey was commissioned by the Greek General Secretariat for Youth in
May 2005 and funded by the European Youth Programme.
33
Instituto Nazionale di Statistica, Rapporto giovani carried out by Instituto IARD every 4 years.
www.institutoiard.it/intro.asp
34
Public and the Arts Survey (Arts Council) 2006
35
Culture consumption in Latvia (2007), Accessibility of culture in regions (2007), Central Statistical Bureau (2008)
36
Public Participation of the Youth between 16 and 24, 2006, A Survey of the Situation of the Youth, 2006
37
Survey data analysed by CEPS/INSTERAD. Other CEPS/INSTEAD studies include Les sorties culturelles des jeunes
de 6 à 19 ans (2009), Les pratiques sportives et artistiques des jeunes de 6 à 19 ans (2009), Les pratiques de lecture
au Luxembourg (2006), Les pratiques de concerts au Luxembourg (2006), Les pratiques culturelles au Luxembourg
(2006).
38
Cultural statistics 2004 (NSO, 2006), Theatre-goers 2003 (NSO, 2004), National Statistics of Malta 2004 on ICT
usage, Kultura 2000 Survey
39
The Dutch chapter of the Compendium on Cultural Policies states that: “The "ageing" of the audience of traditional
culture seems to stop. There is a significant increase of museum visits within the youngest age group (12-17 years old)
from 43% in 1999 to 58% in 2007. In this group the visits to performing arts also grew: from 19% in 1999 to 25% in
2007.” Source: Social and Cultural Planning Office (AVO). Also Jeud 2003, cifers en feiten (results of a research done
by Statistics Netherlands on the leisure activities of young people in the Netherlands in 2003.
40
The Polish report states that: “In Poland according to the research entitled “Biała Księga Młodzieży Polskiej – dwie
prawdy o aktywności. Uwarunkowania i możliwości działania młodzieży w środowisku lokalnym w perspektywie polityki
młodzieżowej Rady Europy. Raport z badań”[1] from 2005 the following institutions and places (in opinion of youth) are
necessary/needed in their cities and towns (the representative group of young people were created by lot). Almost a half
of respondents (48%) consider sport centres and other types of infrastructure destined for sport activity as the most
important. 16% of respondents chose clubs; 14% pubs and cafes; 9% cinemas; 6% cultural houses, common rooms
and Internet cafes; 4% libraries; 3% shop centres. Only 1% of respondents gave the answer: “Anything what provide the
offer to set about doing something”. The survey shows also results related to youth and existing culture and sport
infrastructure, cultural attendance and cultural spaces.
41
Social Status and Romanian Youth Expectations. Public Opinion Barometer – Youth 2008, ANSIT and ANT;
European Values for Youth Nearby Frontiers, Romanian Statistican Yearbook
42
Informe Juventud en España 2008, Vol 4: Cultura, Politica y Sociedad (Maria Jesús Funes, INJUVE, 2008)
43
Ung idag 2007, Fokus 2006, Young people with attitude
44
« Participation in the Arts by Young People »
26
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education than in the rest of the country. The study does touch upon demographic changes and
their influences in the access and participation in culture, and working conditions of cultural
operators.
In Italy a relevant study elaborated by many authors and financed by the Ministry of Culture was
titled “Education in culture – connections between culture and education and access to culture
for children and youth.” In this study authors have also studied the institutions and other smaller
organisations, which are fostering educational programmes in culture or are working on
strenghteing the access of young people to culture. When reading through this study, there is a
general sense that there are many different programmes that facilitate access to culture for
young people. The survey does not give any information about the number of attending
students, but instead many case studies are included. One concluding thought is that the
programmes of education in culture should be more widely spread, and better planned,and
above all they should be more accessible to individual young people, who could perhaps attend
them outside the structured visits their schools organize.45
The surveys tend to emphasize attendance/participation over access. An exception is a survey
conducted in France in 2006 by TNS Sofres that showed that 46% of French people consider
access to culture as their primary expectation46 but besides that not many other examples can
be found. The survey is not divided according to age groups but reflects a general feeling in a
country where access to culture is considered to be a right.
Studies on the participation of young people in cultural life
In 1995 John Harland, Kay Kinder and Kate Hartley carried out an interview study on the youth
participation in the arts in the United Kingdom. The 300-page research report “Arts in the view”
portrays young people’s views on the arts and their involvement in the arts through 700
interviews of people between 12 and 14. The study reveals the lack of previous research
material on youth participation and empirical evidence on rates and patterns of involvement.
One of the reasons for the lack of research material was claimed to be the fact that young
people’s participation in the arts is a subject domain of several policy domains. The results of
the pre-massive Internet era study show (interviews were conducted in 1993) similar kinds of
results than the participation studies of today. Socialising with friends (35%), watching tv and
videos (25%) and cinema (15%) were the most common leisure activities and, going to art
galleries and museums (1%), theatre (5%) and concerts (2%) the least favoured ones. What
seems to be a great difference is that as in 2009 young people are active Internet users, in 1993
more than every fifth interviewed young person (22%) was an avid reader. The study focused
on a large concept of participation, as different kinds of creative activities are included as well.
Playing a musical instrument (6%) and drawing (6%) are favourite creative activities and
miscellaneous leisure time activities such as ‘messing around in the street’ (7%), travelling (5%)
and part-time working were among the most frequent ones. What is striking of the study is that
in 1993, 77% of young people did not mention participation in any form of artistic leisure activity.
The study shows, however, strong individual engagements in arts activities by people belonging
to minorities with many artistic leisure activities.
In their 1999 study (reprinted in 2007) Crossing the Line: extending young people’s access to
cultural venues the same authors analyse the ways to enlarge young people’s access to cultural
venues. Their research shows that young people’s attendance at theatres, concert halls,
galleries and museums declines as they progress through their teens. Physical and
psychological barriers, gender and background are some of the factors that prevent young
people from attending cultural venues, but also because young people felt that these cultural
45
The Italian report states that “in Italy during the 60s and the 70s most of the studies about youth cultural production
and consumption were about the so-called juvenile sub-cultures. The role of young people in that context was the one of
a prosumer, a word that indicates that people are at the same time cultural consumers and producers (a very clear
example in the musical field is that of the so-called cantautori, singers who also write their songs). Today with the use of
new media and new technologies the situation is very similar: young people produce and consume their own culture at
the same time.”
46
TNS SOFRES/Radio France/Arte survey, 8 and 9 November 2006. Information obtained from the French report.
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venues, and what they have to offer, are not relevant to them. The report explores how cultural
venues can make themselves more accessible for young people and plays with the idea of
some young people serving as ‘cultural mentors’ to their peers. The report reviews policy
papers, literature and research evidence on the subject, as well as examinies current initiatives
designed to increase young people’s attendance at cultural venues. There is also a section
which records young people’s accounts of accessing cultural venues, which gives direct insight
into the problem.
As regards more recent studies, one of the most recent ones is the Youth barometer survey
carried out in Finland in 2009.47 The survey collects information on the participation in the arts
and culture of young Finns between 15 and 29 years of age, and their related attitudes. The
survey shows that two young people out of three have a creative hobby and 40% of young
people have more than one creative hobby. The main creative hobbies are mentioned to be
playing a musical instrument, handscrafts, photography, drawing or other type of plastic arts.
The main obstacles in accessing culture and the arts are mentioned to be lack of time, high
prices and lack of opportunities in the hometown. According to the survey, through participating
in culture young people seek enjoyment, strong sensations and sense of achievement. Other
important factors are self-expression, innovation and learning. Young people seem to also
appreciate the communal sense of cultural participation. Also, most of the surveyed young
people believe that art can have an important impact in the society.48 The study shows that the
importance of cultural services for young people has increased during the past ten years.
As for other studies, France is one of the countries where participation/attendance of young
people in culture has been widely studied and documented. The Survey of the Observatory of
Student Life (Observatoire de la vie étudiante) carried out in 2005/2006 is a survey regarding
the life conditions of students in France. The results are based on an impressive number of
25.000 responses. The results include a section on Reading and cultural practices that shows
mainly the reading habits of students from the time spent in reading to the type of lecture49, and
information on the relationship between home ‘libraries’ (how many books the parents of the
student have) and expenditure in books. The study also includes an interesting table on the
access of students to books that shows that most of the students buy the books they read. This
is shown in the following table:
As regards attendance in cultural equipments and services, the same study shows tables on the
elationship between age and type of activity that do not show great differences between age
groups especially when it comes to information that we already know: young people tend to go
47
The Youth barometer survey is carried out on a yearly bases, the 2009 survey was conducted by interviewing 1900
young people and focused on the participation in culture and the arts.
48
Youth Barometer
http://www.minedu.fi/export/sites/default/OPM/Nuoriso/nuorisoasiain_neuvottelukunta/julkaisut/barometrit/liitteet/Nuoriso
barometri_2009.pdf
49
The study shows that students of Law and Political Science read most, and that those who read every day (17,7%)
come out in bigger numbers than those that never read (10,3%). It also shows not surprisingly that the higher the
educational degree of the parents of the stydent, more they own books, and more there are books at the home library
less is the money spent in buying books by the student.
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to the cinema more and to a museum less than young adults.50 As regards the specific theme of
access, the study covers mainly access to internet which is considered to be high.
Other examples of studies carried out in France include a 2006 study on the engagement of
young people in cultural activities in rural areas through youth houses51 as well as a 2006 study
on the access of young adults to contemporary art52. The cultural and artistic activities of the
Ministry of Youth and Sport are the subject of a 2000 study that examines the awarenessraising programmes on amateur art activities, the qualification of people involved in these
practices and dissemination of information on the existing artistic and cultural resources in
France.53 Another study from the beginning of the decade carried out by Jean-François Hersent
(2003) on cultural practices of adolescents shows that young people use new forms of cultural
consumption and access to culture such as internet and new technologies. The study shows, for
example, that the concept of time that adolescents have today is different from the previous
generations and this has an impact in different cultural activities such as reading that might be
considered too time-consuming for their taste54.55
As for cultural statistics, the Ministry of Culture and Communication of France published in 2008
a very complete cultural statistics “Clés 2008” that also gives wide information on the
attendance of young people in cultural services and equipments but also on the creative
activities of young people, cultural education at schools, the number of young artists in the field
of plastic arts, and the expenditure of young people in cultural activities56.
There are also several surveys carried out in the United Kingdom. One example is the
Participation in the Arts by Young People commissioned by the Arts Council of Wales in 2006
that shows very similar kind of results than surveys in other countries. The report shows that
young people use approximately 2.3 hours a week in arts activities and that the activities they
would like to participate more, but have not, are DJ rapping, starching and making videos. The
respondents felt that their gender did not restrict them from participating but did have an
influence in their choices of activities. As remedies to encourage stronger participation the
50
Also examined is the academia discipline and type of cultural activity. Even if great differences cannot be observed,
the table shows that language and art students attent cultural activities most (except sport and discotheques) and med
student go least to the cinema, etc.
51
Assanthiany Laurent, L’engagement des jeunes dans les pratiques culturelles en milieu rural à travers l’action des
Foyers Ruraux (Juin 2006)
52
Gottesdienes & Viletatte (2006)
53
Les actions artistiques et culturelles soutenues par le MJS (2002)
54
See Hersent J.F. (2003), Les pratiques culturelles adolescents, Paris, Bulletin des Bibliothéques de France
55
Another very interesting publication in France is the 2007 interdepartmental study of the Ministry of Culture and
Communication that examines the generational approach to cultural and media practices. The study claims that
generations and their cultural habits should be understood in the framework of the cultural values every generation
generates and the historical moments they go through. The study underlines that: “our cultural habits and our frequency
to visit cultural equipments are in large part determined by the existing cultural offer, the practices of our friends and the
social valorisation as regards different practices – all these characterize our time and set the common manners with the
people that belong to the same generation.” Cultural evolution is mainly introduced by young people and to understand
the cultural needs that every generation has it is important to observe the technological and socio-economic tendencies
that influence the moment in time (or socio-demographic trends such as the increase in the number of single nonmarried people in the past twenty years and the impact of this in the youth culture). The study confirms as results that:”
The growing momentum of the audio-visual compared with print media, for example, can be seen as having begun thirty
years ago with the drop in newspaper reading, followed by the increase in time spent watching television when the
French audiovisual scene diversified and, subsequently, by a relative falling-off in book reading. The trend has been
amplified in recent years by the widening use of computers….. In looking at the future, it may therefore be predicted that
the rise of this budding digital culture will take place, at least to some extent, at the expense of earlier cultural and media
practices. The reasons lie not only in the competition for time and budget that will engender, but also in the nature of its
offerings in terms of written, audio or visual content and the broadcasting scope left to the older media (press, radio,
television).
56
Clés 2008, Statistisques de la Culture. The study shows for example that 43% of young people visited a historical
monument in 2003 which is slightly less than the average population. But is also shows that young people between 15
and 14 years attend libraries more frequently than the rest of the population (26% compared to 16-21% in 2003) and
that young people between 15-29 years of age are the most active readers (66% compared to an average 58%), radio
listeners (96% compared to an average 75%) and they go to concerts more (41% compared to an average of 31%).
Instead they go to more or less the same amount than the rest of the population (in average 17% in 2005) and go to the
cinema less than average. Young people are the most active Internet-users and only a small minority of young people
do not use Internet and in 2007 79% of people between 18 and 24, and 83% of people between 12 and 17 had an
Internet connection at home.
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respondents recommended demonstrations, performances, talks, taster sessions, discounts
and website advertising57.
In Ireland, the arts attendance of young people has been largely reviewed, especially through
two main studies: “Participation of Young People in the Arts in Ireland” in 2002 and the “Public
and the Arts” in 2006. The 2006 study commissioned by the Arts Council of Ireland58, shows
that 76% of people aged 15-24 said they were interested in the arts. The Irish report states that
“the survey also pointed out that the Irish people believe that a priority area for arts spending
should be arts programmes and facilities dedicated to working with children and young people.
Education remains the single most important determinant in whether people are likely to attend
arts events or not.” The 2002 study criticises the fact that youth organisations rely on youth
service sector for advice regarding policies and practice and for funding and structural support.
Recommendations for the arts sector should take more of a leadership role here in terms of
standards of practice. Criticism is made of the once-off nature of youth arts programmes
claiming that an agency will not be funded in a consecutive year leading to continuity issues.
The report states the case for interdepartmental coordinating committee to ensure proper
partnership approach. This would include Arts Council, The Youth Affairs section of the
Department of Education and the National Youth Council of Ireland. The report recommends a
Cross-Agency Structure to aid national strategic development of youth participation in the arts.
Need for interdepartmental infrastructure including Departments of Art Sport and Tourism,
Education and Science (Youth Affairs), Environment, Enterprise, Health and Children. The
report suggests that Training and Support should be sustained to provide adequate numbers of
adults to work as animateurs, teachers and mentors. The report suggests that the role of
volunteers should be affirmed. Most of all the report suggests that the Arts Council needs to
come up with a clear policy on youth arts including a code of ethics and good practice for arts
practices with young people. Provide a dedicated youth officer post within the arts council.59
In addition, the “Public and the Arts” shows the opinions people have on arts and what their own
behaviour is as regards attendance, participation and consumption of the arts. The survey was
carried out in 100 locations around Ireland and covered 1210 people who in general seem to be
satisfied with the availability of arts centres in Ireland. (A study focused more on youth was a
1993 survey by the National Youth Arts Committee together with the Arts Council which called
for provision of “forums for Irish young people to explore their distinct cultural identities or their
particular version of the global modes.” The Irish correspondent underlines that “It led to the
setting up of new posts for the National Association for Youth Drama (NYAD), the Dance
Council of Ireland, Music Base and the National Youth Council of Ireland (NYCI). Pointed to a
need for an inter-agency structure. Dance Council of Ireland and Music Base ceased to operate.
The NYCI and NAYD continue to be maintained.” ) Other studies in Ireland include the 2008
Arts Council report “Point of Alignment – the Report of the Special Committee on the arts and
education”, “Hearing Young Voices” in 2002 by the Children’s Rights Alliance in conjunction with
the National Youth Council of Ireland and “Taking the Initiative: Promoting Young People’s
Participation in Public Decision-making in Ireland” by E. O’Leary for the NYCI/Carnegie Young
People Initiative in 2001.
Those countries that do have statistical information on the participation of young people in
culture offer fairly general figures. In Germany the Centre for Cultural Research (ZfKf) published
in 2006 the first large-scale empirical study Jugendkulturbarometer on the cultural tastes and
habits of young people across Germany between 14 and 25 which raised a lot of interest in the
cultural field. Quite contrary to the prevailing public image, the study showed that a not
significant number, around 28% of young people, are culturally very active and that young
people tend to show more cultural awareness and interest in the culture of the region than
adults. 83% of 14 to 24 year olds are found to have accessed a cultural event or offer at least
once, 67% of which within the last 12 months. 36% have accessed cultural offers between three
to ten times within the previous year. What is interesting about this study is also how ‘culture’
itself is understood; it shows that young people in Germany have a prevailing idea of culture
57
Participation in the Arts by Young People (2006).
Hibernian Consulting with Martin Drury.
59
The Irish report.
58
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being quite classical (film and literature), that does not include contemporary forms of artistic
expression (pop, rock, hip hop and techno) is the form of artistic expression which they are most
active in, as the report shows in detail (for instance, nearly half of the respondents say they
practice a cultural hobby, if forms like breakdance and graffiti are included, only 34% say they
are active in the more traditional sense – playing an instruments, drawing, etc.)60 The ZfKf is
currently preparing another empirical study on the contributions of established, publicly funded
cultural institutions to foster access to culture particularly in disadvantaged target groups. In
addition, in Germany the Deutsche Bühnenverein, representing the performing arts sector,
carried out a survey on the reasons why young people between 16 and 29 do not attend the
theatre.
As regards studies carried out in other Member States, there are several interesting examples.
The 2007 Research on youth and political activities in Latvia is a large study on the participation
of young people in youth policy and social life, including participation in culture and obstacles to
it. The study breaks down youth participation in culture and entertainment according to age,
gender, nationality, educational institution, family size and domicile. The study affirms that “99%
of young people have attended some kind of cultural or entertainment event during the last year
that implicitly affirms that these events are more or less available to a large part of young people
(the intensity of the events differs of course – cultural event are often more available in Riga and
the other big cities, than in the countryside (parish fests, summertime fest, celebration of the
New Year, discos once a month, etc.).” The study also shows that the ‘passive part’ of young
people only consists of 1% of the whole young population. The study indicates that the most
popular are activities are going to cinem, museums, and there - somewhat different results than
in Western European countries. The study underlines that the passivity of young people that
reside outside urban centres is related more to the lack of opportunities than to a lack of
interest.61 Another survey conducted in Latvia in 2006, carried out by the Faculty of Social
Sciences of the University of Latvia, and titled Cultures, Youth and Media, explored cultural
values and activities within Latvian and Russian youth groups.
Participation is, of course, much more than attending a show or listening to music. It also
involves young people as interpreters and creators of cultural experiences. A 2006 German
study published by the Centre for Cultural Research shows that nearly half of the young people
that responded to the survey practice a cultural hobby (including breakdance and graffiti). A bit
more than every fifth (22%) has received professional instruction and 34% have a classical
cultural ‘hobby’; playing an instrument, acting in a theatre group, drawing etc.62
It is also interesting to notice that the data regarding the access and participation of young
people in culture is often included in broader surveys or studies concerning leisure and free time
rather than being the central subject of specific studies. In Sweden the Council of Youth
publishes annual reports on leisure and culture activities of young people that include various
data on the attendance and cultural habits. The 2006 report reveals that among the young
people between 13 and 25 the least satisfied with the cultural offer are the young people of
foreign origin, girls and those who live in sparsely populated areas. Other findings include that
young people between 19 and 25 form the most underrepresented group in state policy
planning. This supports the observation that youth cultural policy is often tuned to serve children
and forgets young people in their 20s (Ung idag 2007) and that young people are generally
unsatisfied with the existing supply of cultural activities, have worse economy than before and
lack opportunities to use culture in the same way as adults. The State Cultural Council
60
Information obtained from the German report. While the interest in classical music and musical theatre is not only low
(only 8% have been more than once to a classical music concert) but has been decreasing over the last decade, the
interest in film (61%) and popular music (pop, rock, techno and hip hop score between 30% and 50%) remains very
high. Interest in contemporary arts, photography or media and video art rises particularly. The corresponding institutions
fare better in terms of youth access: 52% of young people have been more than once to museums and exhibitions; the
number of young people who visited a contemporary arts exhibition in the previous half have doubled over the past
decade. Club and rock concerts remain the highest form of youth access to culture (over 80% have been to one in the
previous 6 months):
61
Research of youth social and political activities in Latvia, 2007. http://www.slideshare.net/GaaKaa/study-on-youthsocial-and-political-activities-in-latvia
62
Kuechel & Wiesand 2006. Information obtained from the German report.
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publishes an annual catalogue of editions of books for children and young people and since
2008 uses a new survey methodology to measure the participation of young people in culture.
Another interesting fact is that in many countries studies deal more with young people’s
interests and stated practices than actual practices themselves. This is for example the case of
Spain. In Spain several studies have focused on young people’s participation in associations
and non-profit organisations. Even though such organisations could be considered as one of the
cornerstones of cultural life, a recent survey found that 50,2% of young people did not know any
youth association or organisation – this clearly being an obstacle to their participation in them.63
We have found several studies on the socio-cultural realities of young people including their
political activities, financial situation, education and prevailing opportunities. Only to name a
few; in Slovenia we can find a study on culture and youth carried out by the Slovene Peace
Institute (about programmes for education in culture and access to culture for children and
young people)64,and in Greece «Η Νέα Γενιά στην Ελλάδα σήμερα» (“Youth in Greece today”)
that was carried out by the Media and Communication Department of the University of Athens in
collaboration with the market research company ALCO.65 In addition, a research carried out in
Latvia “Research on the social and political activities of young people in Latvia” shows that more
than half of the Latvian young people engage themselves in cultural, political and other activities
during their spare time although, overall, one third of young people can be considered passive.
According to this study entertainment and cultural activities are far more highly valued than
social and political ones66. According to Statistics Finland, a study from 2008, Finnish young
people seem to be generally quite happy with the cultural offer in their area including those
living in the countryside with fewer options.67 In Sweden a recent report Nya kulturvanor (2008)
reveals that young people are less interested in culture than before. The report shows a drastic
drop in library visits (from 83,1% to 57’5% in 8 years) and underlines a well-known fact that
women tend to participate more than men. In the past twenty years the research on culture of
young people has become a well established field in Sweden with many resources and
reports..68
There are also several studies on the relationship between youth culture and cultural policies. In
the Netherlands the report “Main trends in youth culture in the Netherlands”69 explores trends in
youth culture and cultural policy and other spheres of public policy related to youth issues. Also
in the Netherlands the Cultuurdeelname en cultuurbeleving van jongeren (2004) studied the
extra-curricular cultural interests of young people between 12 and 25 in the Province of
Gelderland.
Even though many statistics show discouraging facts as regards the participation of young
people in culture, in Latvia the existing research demonstrates that the young people aged16-24
are in fact the most culturally active part of the population, even if their interests are often limited
to pop culture events and night clubs. A survey carried out in 2006 called the Public
Participation of Young People between 16 and 24 shows that young people would prefer that
63
INJUVE, ‘Valores y Actitudes. Participación Asociativa’ Cifras jóvenes, Estudio INJUVE, EJ123 (2007).
The Slovenian correspondent states that:” In this study authors have also questioned the institutions and other
smaller organisations which are fostering programs of education in culture or are working on widening access of young
people to culture. When reading through this study, one gets a feeling that there are many different programs that
facilitate access to culture for youtng people. The study or better say a survey does not give us any information about
the number of attending students, but on the other hand there are many different case studies described. “ Another
study on the same issues ican be foung at www.mk.gov.si/fileadmin/mk.gov.si/pageuploads/Ministrstvo/raziskaveanalise/umetnost/Kulturna_vzgoja-_MK-pregledna_ekspertiza2005-objava.pdf Most of these studies are available at:
http://www.ursm.gov.si/si/delovna_podrocja/mladinske_studije/).
65
The survey was commissioned by the Greek General Secretariat for Youth in May 2005 and funded by the European
Youth Programme. The main themes covered youth & technology, media, self-image of Greek young people, personal
values, leisure time and culture, and young people and the state – including their knowledge on the General Secretariat
and local youth councils. Information obtained from the Greek report.
66
The Latvian report also states that youth activity in general in Latvia falls behind the Western European countries.
67
Lähteenmaa & Strand 2008, Information obtained from the Finnish report.
68
http://www.ungdomsstyrelsen.se/ad2/user_documents/Youngpeoplewithattitude.pdf; Konst, hur man lever, å lite
annat, http://www.barnombudsmannen.se/Adfinity.aspx?pageid=5395. Only to name few. See also for example Barn &
Unga http://www.kulturradet.se/Templates/KR_FileList.aspx?id=1983&epslanguage=SV
69
Smithuijsen, 2004.
64
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their youth organisations would engage in tourism (22.4% pupils, 19.1% students) and cultural
events (18.6% pupils and 18.3% students). Another study, A Survey of the Situation of the
Youth (2006), displays similar kind of results that show that about half of the respondents
wanted the government to support cultural events rather than sports and mass festivals. The
same survey in 2007 found that 19.2 % of respondents choose to participate in cultural events
during their leisure time, while the internet is chosen by 48%, watching television by 32 % and
sports by 33%.70
Sometimes very similar kinds of studies give different results. The Culture Consuming Survey
2003 carried out in Estonia claims that young people, especially the 15-19 age group, are active
culture consumers to the point that they attend theatre plays more often than the rest of the age
groups. In addition, they are the most active museum visitors and read foreign culture
magazines in the Internet. However, as the Estonian report expresses:” data from 2004 reflects
that less than 2% of young people (age 15-24) attended theatre, visited museums or exhibitions
during the past year; 10,5% of young people visit libraries; and that culture consumption is more
active in Tallinn and larger towns than compared to other regions of Estonia.” Then again the
Culture consuming survey 2006 shows very similar kind of results as the one carried out in
2003.
There are countries that have no reliable data on the participation of young people in culture but
related information can be found in other type of studies. For example in the Czech Republic a
survey from 2006 on the current problems of the young generations in the Czech Republic by
the National Children and Youth Institute shows that 45% of the interviewed young people were
engaged in some kind of leisure time activity (cultural or sport). The other study from 2006 by
the same institute on the participation of young people in political and social life shows low
numbers of self-organisation and initiatives of young people (3,7%) and participation in children
or youth organisations (8,4%). Also quite interestingly almost one third expressed fear that the
membership in the European Union would endanger the preservation of the national culture
even though they could not support this statement with any argument.
Lack of information on the access and participation of young people in culture at
national level
The Italian national correspondent mentions in the national report prepared for this study a lack
of interest in requiring information at national and local levels; not only as regards culture and
youth but also in general terms. She states that for the most part the studies provide information
that has to be aggregated or disaggregated in order to have a general picture of the juvenile
condition.71
The same issue is touched upon in the Polish report:” There are many books and articles which
are related to youth issues. However, most of them, especially those from the 80’s and 90’s, are
related to the youth’s situations and opinions on democracy, transformation, civil society etc. At
the beginning of the XXI century the topics changed. New publications started to appear on
youth and mass media, informal participation in culture, alternative movements etc. For sure it
was the result of the development of the new media and information society, development of
70
Information obtained from the Latvian report.
Notwithstanding this situation, information on young people – included cultural consumption and production – is
provided by public institutes such as ISTAT (Istituto Nazionale di Statistica, <http://www.istat.it> ) or private ones
71
(research centres, etc.). “A very useful tool is the Rapporto giovani, realised by Istituto IARD every 4 years (the first
one was published in 1984): it is a unique publication in Italy and is a precious source of information about trends
opinions and behaviours of young Italians in the last 20 years. The study analyses a group of 3.000 boys and girls
between 15 and 34.”” Studies realised by the IARD Institute have identified the most recent and interesting trends in
young people cultural consumption (http://www.istitutoiard.it/intro.asp; Young people with attitude , R. Grassi, “I consumi
culturali dei giovani italiani nei rapporti IARD” in Economia della Cultura 1/2008, pp. 27-37.).
Data show an evident increase in the use of digital media consumption, especially related to the use of mobile phones,
although in 2004 only 18% declared to know how to use well a pc and 37% only quite well. This trend is applicable
especially to teen-agers and it confirms the existence of a “digital divide” between them and the generation now in their
30s, which is quite evident in the South of the country and in the lowest socio-cultural groups of the population.
71
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popular culture and new trends, and of course of Poland’s accession to the European Union.
But still, there is no comprehensive research on youth participation and access to culture, pop
culture and alternative movements that would cover the whole country. As the research on nongovernmental organisations is quite holistic, the information on youth activities, participation,
access to culture and alternative movements is not available. Very often in the research
attention is put on participation and access to public institutions. Therefore, there is still a lack
of comprehensive data about other forms of participation. It is possible to present overall trends
and some data but there are difficulties with overall statistics. The state statistics provide data
on participation of young people in culture (such as museum, cinema, libraries, cultural houses
etc. attendances) but today there are so many other forms of participation and access to culture
which are not taken into account.”
Funding and/or the lack of academic interest are also issues in some of the countries. For
example, the Maltese report states that:” These studies are usually generic and cover a wide
range of ages and cultural activities, and in some cases the published results even lack
reference to age groups. Qualitative studies, on the other hand, are usually carried out by the
Department of Youth and Community Studies, within the Faculty of Education of the University
of Malta. Nonetheless, these studies are mostly done as theses by post-graduate students,
themselves young people, and often either tackle cultural themes OR youth themes; seldom
concentrating on youth AND culture. This could perhaps be explained in terms of lack of interest
by academics in specific cultural youth matters. Another quoted reason is the lack of funding by
the authorities.”
Studies with specific scopes
There is quite a lot of information available on young people and Internet even though most of
the studies focus on the number of available connections or the time used online. The General
Computer Literacy Survey carried out in 2008 in Lithuania shows Lithuanian youth as active
Internet users, with slight differences between urban and rural youth as regards the forms of
usage. Not very surprisingly the surveys show a high number of online activity. A Belgian survey
shows that 96% of young people use Internet actively72 and in Denmark 86% of young people
aged 14-16 have a profile in the Internet (and 99% have their own mobile phone)73. Internet use
is also high in the new Member States such as Hungary where 50% of young people go online
daily and Estonia where in 2004 60% of young people used Internet74 - and in the last years the
number of Internet users has most probably increased.
Education and culture is an issue that has attracted numerous studies. Only to name a few
examples, a key document in Germany is the 500-page strong publication by the Deutsche
Kulturrat on cultural education in the context of the education reforms (Konzeption Kulturelle
Bilding III), dating from 2005, which provides analyses, interpretation of trends, and
recommendations from its constituent sectors. The final report of the Commission of Inquiry
Kultur in Deutschland dedicates a chapter to cultural education and has relevant statistical,
analytical, and evaluative information throughout. The Institut für Kulturpolitik (IfK) at the
Kulturpolitische Gesellschaft annually publishes their “Jahrbuch für Kulturpolitik” with articles
and statistical information; the 2005 edition focused on Cultural Audiences.
Another example on the relationship between art and education is the work carried out by Anne
Bamford on art education, visual literacy, and the use of interactive media in teaching and
learning.75
72
99,2% of Flemish teenagers and 92,9% of teenagers in Wallonia. Source: Bauwens & Pauwels, 2008. Information
obtained from the Belgian report.
73
Research by Mediarådet, information obtained from the Danish report.
74
www.eni.ee7?s=27. Information obtained from the Estonian report.
75
In a recent conference Anne Bamford presented the results of a National Curriculum Conference in Malta (2000) that
identified a series of national and international measures which had negatively impacted upon creativity. E.g. a rigid
timetable, formal class-management protocol, syllabus overload, discouragement of students from taking ownership of
learning, emphasis on competition and external rewards and teachers’ own limitations in the creative sector. She stated
that when 2002 the Education Division introduced the post of “creativity teachers” with the aim of accelerating artistic
development in schools. There are currently around 150 ‘creativity teachers’ in schools in Malta.
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Information on the obstacles for young people to access culture derived from studies at
national level
The Jugenkulturbarometer in Germany that coincides with the Shell Youth Study and the
Freiwilligen-Survey underline that the key elements are family/social environment and school,
which have a combined effect. As the German report states.” The Shell study confirms that the
former has a strong effect on education; young people from disadvantaged and less educated
backgrounds are less likely to attend the higher school forms or attain professional or academic
qualifications than their peers from socially privileged backgrounds. Yet this has an impact on
cultural access: the Jugenkulturbarometer identifies similar patters to the “creative elites” of the
Shell Study when it finds that among young people active in out-of-school cultural activities, only
8% attended the Hauptschule. There, furthermore, they are also less likely to have access to
culture as part of the curriculum than their peers in the Gymnasium76. In turn, two thirds of those
active in culture do so by following the tradition of their parents showing an interest or being
active in these fields. Another factor is the peer group and friends’ interests and habits. Thus
young people are particularly active in whose social and educational environment many positive
factors coincide (interest and offers from school, family, friends, institutions); where all, or some
of these factors lack, it is more unlikely for young people to participate in culture. This is
particularly so for young people with migration background, where social contacts and family
can facilitate their interest and engagement; information and peer practice can interest them
even for “high culture” events, as long as their parents support them. School alone is not
generally successful in motivating cultural activities; only 3% of respondents were exclusively
motivated by school offers to take up a cultural practice out-of-school. Much also depends on
the actually existing cultural infrastructure – particularly in rural areas, as the ZfKf study shows
in detail.”
One of the conclusions which can be extracted from recent studies in this field in Spain is the
outstanding gap between young people's interest in culture and the arts and their actual ability
to take part in them. Indeed, a survey in 2002 argued that '[one] of the non-satisfied leisure
activities among young people refers to young people's demand for events such as theatre
performances and concerts. High price and the lack of a diverse, attractive supply for young
people may be some of the causes for the gap between young people's wishes and their
practices.'77
In a study carried out by the Arts Council of Wales and CRG Research on young people’s
participation in the arts, barriers were explored qualitatively during focus group discussions.
Strong emerging themes were the cost, travel and lack of what young people referred to as
‘good’ activities. What ‘good’ activities meant varied between groups, and often pupils were not
able to give examples. Socio-economic patterns also emerged. In schools located in wealthy
areas young people were more likely to report parents' time as a major barrier for enabling
young people to get to various activities, whereas in schools located in poorer areas young
people said they could not afford to attend activities.
In the quantitative survey of the same study, young people were asked why they do not
participate more in arts activities. Interestingly the most common reason was the lack of time
(39%). A high percentage of young people also reported that they do not take part in arts
activities because they do not feel these activities would be good for them (25%) or simply
because they do not like arts activities (28%)78.
76
Germany has a three-tier secondary school system, where students after 4 years of primary school decide between
the Gymnasium, ending after 9 years (soon to be 8) with the Abitur that qualifies for university access, the Realschule,
which after 6 years qualifies for non-university higher education, and the 5-year Hauptschule, which qualifies for
professional training only.
77
INJUVE, 'Sondeo periódico de opinión y situación de la gente joven (cuarto trimestre de 2002): Ocio y tiempo libre,
noche y fin de semana, consumo de tabaco, alcohol y otras sustancias' (2002), p. 5, available at
http://www.injuve.mtas.es. Our translation; bold in the original.
78
See CRG Research (2006), Participation in the arts by young people, Cardiff, Arts Council of Wales.
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Although the sample of this study is fairly small (226 adolescent), the research suggests that a
relative openness to cultural expressions of all types characterizes youth — perhaps even to an
greater extent than it characterizes adults. The research can be seen primarily as an
exploratory work among youth and youth cultures to see whether their cultural styles fit in with
the omnivorous pattern found among adults. Over a variety of domains of cultural tastes (music,
film and television, light reading and literature, receptive cultural participation), about half of the
adolescents in this study claimed to have omnivorous (20 per cent) or moderately omnivorous
(27 per cent) tastes79.
The reasons for the inactivity were given to be the lack of custom, other interest, disinterested
peers, lack of time, lack of information and lack of perceived “talent” in the family.
Access of young people in vulnerable situations
Some of the Member States have statistical information on the access and participation in
cultural life of young people of ethnic or national minorities or young people with disabilities. The
Equal Opportunities Centre for Disabled People in Denmark published a report in 2006 on the
access of young people with disabilities80. The report concludes that the young adults between
18 and 30 years of age with disabilities have increasing opportunities to take part in organised
activities in their free time.81
In the Netherlands there are several publications on museum education and programmes for
young people in museums. The Cultuurnetwerk Nederland’s 2008 study report
Museumeducatie in de praktijk. Trendrapport museumeducatie 2007 examines trends in
museums education in the Netherlands and in 2009 Olga Van Oost published a publication on
Flemish and Dutch museum programmes for young people in their leisure time82.
In countries such as Finland there are quite a lot of studies on young people and youth cultures,
including some studies on leisure activities and culture. Päivi Harinen has studied (2003, 2005,
2007) the leisure and daily (cultural) activities of minority youth, a theme that has also been
examined in relation to youth organisations (for example Pyykkönen 2007 on multiculturalism in
Finnish youth organisations). There are also several studies on art education, cultural education
and youth policies.
In addition, in 2002 the Arts Council of England commissioned a research study (by the
Nottingham Trent University) on the access, participation and progression in the arts of socially
excluded young people and young people on detention and training orders (DTO). The results
of the study show several things including the following83:
Access to, and participation, in the arts of young people while at schools:
¾
¾
¾
¾
A significant number of the young people interviewed on DTOs had experienced early
detachment from mainstream education.
Literacy and numeracy levels of the young people were generally well below those of their
chronological age
Arts practioners felt strongly that low levels of literacy and numeracy did not affect young
people’s ability to participate in arts activities and felt that the arts could be a useful vehicle
for developing literacy and numeracy skills.
Practioners saw benefits to young people by participating in the arts, including the
development of ‘soft skills’ (such as communication skills and team-working) and
improvement in overall education achievement
79
See Frits Van Wel, Willemijn Maarsingh, Tom Ter Bogt, Quinten Raaijmakers “Youth cultural styles. From Snob to
pop?” in Young Nordic Journal of Youth Research n.16/2008
80
http://www.clh.dk/index.php?id=1226 (in Danish)
81
Information obtained from the Danish report.
82
Van Oost, 2009. Mind the gap, the sequel. Een onderzoek naar het vrijetijdsaanbod voor jongeren in Vlaamse en
Nederlandse musea.
83
Information from the report.
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¾
¾
¾
¾
¾
The majority of young people reported that participation in the arts led to relaxation and
enjoyment and kept them ‘out of trouble’.
The young people’s initial understanding of the term ‘the arts’ was limited.
Almost 90% of the young people expressed some enthusiasm for arts activities, including
non-traditional art forms such as DJ-ing and graffiti.
Exposure (i.e. the amount of contact) affected how accessible the young people considered
the arts to be.
Young people on DTOs spent most of their spare time (out of the total time spent on arts
activities) on non-structured arts activities, which often had a social aspect.
Access to, and participation in the arts of young people in the youth justice system:
¾
¾
¾
¾
¾
¾
¾
¾
The provision of arts, and therefore access and participation in the arts activities, varied
significantly between establishments with some offering very little (less than one hour per
week) and others offering substantial provision (eight hours per week).
93% per cent of the young people interviewed had had access to at least to one arts-based
activity since being in custody.
Of those young people who had participate in arts activities, just under half (46%) had been
unable to continue with their preferred arts activity on entry to custody. The most common
reason for this was that the arts activity was not available to them.
85% per cent of the young people interviewed had participated in some kind of arts activity
since being in custody. Activities most commonly undertaken were painting and drawing and
computer design.
Young people identified a number of reasons for enjoying in participating in the arts in
custody. The most common response was that they found the arts relaxing. Other responses
included the fact that young people enjoyed working in groups that allowed them to be
creative.
Establishments wanted to offer more arts provision but financial resources, lack of adequate
space and staff shortages were preventing them from doing so.
Other barriers include low self-esteem and low confidence among young people in custody
as well as difficulties caused by group dynamics.
Practitioners believed that there was a lack of interest among staff and managers about
offering more arts provision as well as a lack of relevant expertise among practitioners.
A French Christian youth organisation, Young Christian Workers - JOC (Jeunesse Ouvrière
Chrétienne) launched in November 2008 a study on the access of young people to culture in
France, with a special emphasis on the access of those of less economic and material
resources. The study bears the name “Cultural and leisure activities of young people” and is
based on a survey of 7433 young people all around France. Between November 2008 and
January 2009, 7422 young people were interviewed about their cultural and leisure activities.
The results have been quite shocking including the fact that 61,3% of the interviewed
considered that they have no time for culture or leisure activities. Futhermore, almost 40% of
the young people felt that they did not have enough money to enjoy culture and leisure time and
42% of the respondents living in a city stated that they do not have access to the cultural
activities and services of their city.
Some of the studies examine the access and participation aspect not relating it to the national
culture but to youth or subcultures and to the possible conflict between the two. The ongoing
research project (2008-2010) at the Tallinn University on youth subcultures and lifestyles
examines the relation between the values and norms of different subcultures and their possible
conflict with the values and norms of the established society.
Young people and the local level
At the local level we can find some interesting studies. For example the City of Helsinki has
carried out three quantitative studies on the free time activities of young people in the city (1984,
1991, and 2001) and has published a qualitative analysis on the new phenomena of youth
cultures and their potential impact on youth services84
84
Salasuo (2006) Information obtained from the Finnish report
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Kulturprojekte Berlin is shortly due to publish the results of a peer-guided survey, in which
young people between 15 and 20 interviewed peers in all Berlin district about their cultural
habits and perceived obstacles in accessing culture.
Accordingly, the Maaelu Arengu Instituut in Estonia carried out a study on the involvement of
young people in local activities. The results provide various information on the situation of local
hobby schools and youth centres; attitudes on participation fees; local government’s priorities in
youth work; involvement of youth in decision-making processes; financing of hobby education
and information spreading strategies.85
85
Information obtained from the Estonian report
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ANNEX IV: NATIONAL BEST PRACTICES
Name
EDUCULT
Name: EDUCULT
Country
Austria
Timeline
Since 2003
Description
Arts and culture/education
Level
National and international
Location: Vienna
Summary: EDUCULT is an organisation focused on conceiving, organizing and coordinating projects in the field of arts and cultural education, cultural policy and educational policy,
intercultural dialogue, science education and audience development. The institute aims at ensuring mediation through bringing representatives of both culture and education
together. EDUCULT creates interconnection by supporting the links culture and business, culture and society, culture and urban development, culture and school, culture and health,
culture and media. Moreover, this process is carried on sustainability basis since EDUCULT projects aim at generating visible and long-term effects.
Context/scenario: The EDUCULT activities take place within the context of a broad national and international network of more than 7,000 institutions and their staff. The work of
EDUCULT contributes to policy making by providing critical opinion on controversial cultural policy issues. Moreover, EDUCULT promotes the idea for economic competence in the
cultural field and responsible approach to dealing with resources.
Target group: pupils, students, youth, teachers, migrants, persons engaged in the cultural sector, artists, scientists, cultural and educational policy makers, general audience
Brief description of activities: Consulting, Conceptual Design, Research, Monitoring and Evaluation, Networking,
Organisation, Project Management, Information Processing and Distribution
Partners involved:
In Austria:
•
Bundesministerium für Unterricht; Kunst und Kultur; Stadt Wien; Bundesministerium für Verkehr, Innovation und Technologie; 2ask - Online Fragebögen;
Communication Matters; Dschungel Wien; Interkulturelles Zentrum; quartier21; Science Center Netzwerk; Stadtschulrat Wien; ZOOM Kindermuseum
International partners:
•
Anna Lindh Foundation; Culture Action Europe; Canon Cultuurel; Centre for Cultural Policy Studies - University of Warwick; Cultuurnetwerk Nederland; ACE network;
Deutsche Kinder- und Jugendstiftung; European Cultural Foundation; Koreanischer Kulturservice (KACES); Kulturmanagement Network; Yeditepe Üniversitesi;
Zentrum für Kulturforschung
Lessons learned:
•
•
•
There is a lot happening in order to improve the access to culture, but most of it is based on individual enthusiasm and often remains only an isolated initiative.
There is no common data basis to inform evidence based policy
There is a need to promote cultural diversity as a precondition of a pluralistic society.
Results (if any):
•
“Kulturelle Bildung zählt”, a three-year inventory taking of arts and culture in Austrian schools (2008-2010)
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•
•
•
•
•
Organisation of the action day for 2000 pupils for the political campaign „Forschung macht Schule“, initiated by the Austrian Ministry for Transport, Technology and
Innovation (March 2008)
“Information platform” – new online service. The info platform systemizes the various and scattered information about arts and cultural education, and creates a
continuously growing in size and content virtual space that provides access to the young people and related organisations (http://educult.at/index.php/InformationPlatform/174/0/?&L=1).
"Arts, Cultura and Intercultural Dialogue", report in the frame of the European Year of Intercultural Dialogue 2008 commissioned by the Austrian Ministry for Culture
and Education, September-December 2007, published in March 2008
„Diversity and Cooperation – Cultural Education in Austria", report commissioned by the Austrian Ministry for Culture and Education, May-August 2007
Organisation of the Fourth International Conference on Cultural Policy Research (ICCPR 2006), Vienna
url: http://www.educult.at/
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Name
MUSEUM ONLINE
Country
Austria
Timeline
Since 1995
Description
Heritage,
education
technologies
and
new
Level
National / International
Name: MUSEUM ONLINE
Location: Vienna Headquarters, activities all over Austria
Summary: The idea behind MUSEUM ONLINE is to promote the cooperation between museums and schools by the use of innovative technology. The application of new
communications- and information technology represents a substantial component of the project. The objective of MUSEUM ONLINE is it to enable pupils and teachers – within the
scope of project teaching – to engage in intensive analysis of regional, national and international art and culture; participants are furthermore enabled to get involved in thorough
investigations concerning world cultural heritage (UNESCO) as well as dealing with information and communication technologies. MUSEUM ONLINE therefore consciously pursues
an interdisciplinary approach. Pupils and teachers in cooperation with qualified representatives of museums and arts, and cultural institutions gather and compile suitable contents
which are then presented multilingually on the Internet. Dealing with questions of diverse aspects, such as technical innovative, art-historical or museum-oriented matters is required.
(Source: http://www.museumonline.at/)
Context/scenario: MUSEUM ONLINE is one of the projects run by KulturKontakt in the context of their objective to link education and arts and culture. This particular project of
KulturKontact focuses on museums, cultural heritage and innovative technologies. It happens in the context of the overall activity of KulturKontakt which can be summarized as
dialogue events (KKA)(DVA), providing school culture budget for federal schools (SKB) and creating partnerships between schools and cultural institutions (p [ART]).
Target group: Teachers of fine arts, information technology teachers, cultural heritage experts and institutions, young people, students
Brief description of activities: The students attending the secondary school in Golling in Lower Austria documented a range of so-called "minor monuments" of their home village;
among these are chapels, wells, façade- and gable figures, sculptures, street monuments, memorial stones and commemorative plaques and gates. Moreover, they also engaged in
the renovation of small chapels under the direction of experts. This blend of the haptic and virtual worlds is characteristic for many projects of MUSEUM ONLINE. Young "mediafreaks" are particularly successful in achieving a synthesis between computer-technical possibilities and traditional-creative modes of expression at those points where their own life
situations can flow into the project. For instance the virtual galleries which were successfully created by the SPZ Unterweissenbach in order to promote their computer-generated
works: The severely handicapped children orient themselves by copying and alienating the paintings of the "great masters" according to their perception of the paintings and their
models (the great masters). Another exemplary case would be that young people are in search of answers to the following question: "What do museums offer to young people?" A
solution is provided by the "Culture4youth-Club", set up in cooperation with the Joanneum Museum on the initiative of the students of the BHAK (school for trade and commerce)
Grazbachgasse.
A different approach to the question would be the one adopted by the HBLA (school for commerce and tourism) Ursprung; the school turns into a branch office of the museum. In
cooperation with the "House of Nature" the HBLA carried out research on a project about genetic engineering and used the scientific data for the development of computer games.
(Source: http://www.museumonline.at/)
Partners involved: MUSEUM ONLINE is a project initiative of the Ministry of Education, Arts and Culture and of Cultural Contact Austria and Kultur Kontakt Austria; operationally
implemented by Kultur Kontakt Austria.
Since 1995 more than 450 schools across the whole of Austria in cooperation with their own partner schools and numerous museums, arts- and cultural institutions from home and
abroad have participated in MUSEUM ONLINE.
Budget/funding (if available): State funding
Year: 1995 – onwards
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Lessons learned: During the past eleven years, MUSEUM ONLINE has developed from a small-scale regional project into a cross-border international project. No matter whether
the schools explore their immediate environment and document it on the Web or whether they cooperate with schools from abroad, there is one thing all this work has in common:
The recognition and the development of new modes of expression, the interactive communication between schools and the "outside world" and getting involved in an open-ended
artistic-creative process. Moreover, despite objections claiming that elementary schools do not dispose of the necessary technical requirements, it has to be mentioned that an
increasing number of elementary schools have been participating in MUSEUM ONLINE in recent years. It is precisely this age group which responds with great enthusiasm when
dealing with regional and cultural heritage. (Source: http://www.museumonline.at/)
Results (if any):
The two major achievements:
•
•
established itself as an active platform which enables museums and schools to get in contact with each other
maintains a juvenile perspective on the Austrian cultural heritage.
Participation mobilized by MUSEUM ONLINE:
•
•
•
•
•
•
over 450 web projects carried out by children of all ages
more than 100 museums and galleries have participated in the project
encouragement of project-based education
international partnerships (between schools and museums)
encouragement of communication, in-service training, creativity and dealing with ICT skills
promotion of the approach to have fun by dealing with new technology and cultural heritage simultaneously
Projects realized:
• Congregate (Vorarlberg)
•
•
•
•
•
•
•
•
•
Everyday culture of the miners Leoganger - ores in Leoganger Pinzgau - Faith and Hope (Salzburg)
Youth & Air Museum (Carinthia)
The bell in the everyday culture (Tyrol)
The daily death (Styria)
The everyday life of a peasant family from 1958 to 2008 (Burgenland)
TOYS STORY (Öberösterreich)
Vienna in the 20th
Century ever heard? (Vienna)
Waldbäuerliches crafts now and then (Lower Austria)
url: http://www.museumonline.at/
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Name
BRONKS
Country
Belgium
Timeline
Since 1991
Description
Theatre and education
Level
National/international
Name: BRONKS
Location: Brussels
Summary: BRONKS was established in 1991 in Brussels under the initiative of Oda Van Neygen, and stands for ‘Brussel, Onderwijs, Kunst’ (Brussels, Education, Art). The aim of
BRONKS is to present and produce contemporary theatre for young audience.s BRONKS also has a significant educational mission in Brussels: it wants to introduce theatre in
schools and present it in a high-quality educational framework. Since 2008, BRONKS has its own theatre in Brussels, making an end to its prolonged nomadic existence.
Context/scenario: BRONKS was established as a new place for children’s and youth theatre after these activities came to an end at Beursschouwburg in Brussels. Ever since, it has
been presenting and producing children’s and youth theatre with increasing (international) success.
Target group: In most cases BRONKS works with professional actors to make theatre for children and young people, but every now and then their productions feature children and
young people. Overall, BRONKS is made by and for a young audience. Past productions indicate that BRONKS has a special interest for multicultural and multilingual topics (‘Opera
voor moslims en christenen’ or ‘Opera for muslims and christians’ in 2006, ‘De Gouden Tulp op de maan’ or ‘The golden Tulip on the moon’ in 2007, etc.).
Brief description of activities: It organises workshops and small projects with children and youngs people, which in the past have been the start of major productions. One example
is ‘E@r-mail’ (1999), a performance described as a ‘polyphonic children’s concert’ and directed by Marie Daulne, the leading lady of Zap Mama. In this workshop, twenty children,
between 10 and 14 years old, and of ten different nationalities, were selected based on their ritmical and melodious skills. This performance takes the audience on a trip around the
world, like riding a wave on the Internet: from Japan to the United States via the East and the land of Pygmees, finally reaching Belgium. This ‘concert’ presents a view on different
cultures, languages and sounds. Another example is Het Hamletmachien (The Hamlet machine), directed by Paul Peyskens, which premiered in 1996. In this theater production, 10
boys and 3 girls stage a confrontation between the old classical stories of Sophokles, Shakespeare and Heiner Müller and the tangible social environment of River Phoenix, Kurt
Cobain and their contemporaries who have not yet been covered by an infinte tristesse. They search for explanations and responsible figures to accuse of hypocrisy and sadisme,
but in whom they find comfort at the same time.BRONKS stages about four own productions a year, many of which in the past have toured extensively through Flanders, Holland and
other European countries. It organises a yearly theatre festival in Brussels in November, with a mix of theatre productions, workshops, installations, etc.
Partners involved: Flemish government, Flemish Minister for Culture, Youth, Sports and Media, Brussels capital-region, the Flemish community commission (Vlaamse
gemeenschapscommissie) of the Brussels capital-region, the city of Brussels, Brussel Deze Week (Brussels This Week, city newspaper), fmbrussel (city radio station) and tvbrussel
(city television station).
Budget/funding (if available): By decree of the Flemish government (‘Kunstendecreet’ or Arts decree) and issued by the Flemish Minister for Culture, Youth, Sports and Media,
Bert Anciaux, BRONKS receives a long-term grant of 1 100 000 euros for the period 2010-2012. In the past, BRONKS was granted project-based subsidies, as in 2007 when the
Brussels capital-region assigned BRONKS 12 500 euros for its annual Youth Theatre Festival in November.
Year: Established in 1991 – present
Lessons learned: BRONKS has organised several workshops for children and young people. In these workshops, young people participate in small projects together with theatre
professionals. In some cases, these projects have resulted in theatre productions. The effects or results of these workshops are clear: children discover the different aspects and
production stages of theatre-making, and at the same time theatre makers were able to discover the social environment of the participating children and young people.
Results: cfr. Lessons learnedurl: http://www.bronks.be
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Name
AMUSEEVOUS VZW
Country
Belgium
Timeline
Since 2005
Description
Connecting young
museums
people
and
Level
Local and regional
Name: AmuseeVous vzw
Location: AmuseeVous has several regional operational centres in Antwerp, Ghent, Leuven, Kortrijk and Brussels.
Summary: AmuseeVous vzw was set up in 2005. It is a Flemish and Brussels-based volunteer group which aims to establish, improve and perpetuate the relations between young
people and museums. The basic principle of AmuseeVous refers to young people and museums as a twosome and aims at bringing both worlds together: youngs people are visitors,
but at the same time they are hands-on experts, curators and thinkthanks who are coached from the sidelines. Ultimately, it wishes to enthuse and stimulate young people to actively
and creatively participate in the museum and heritage sectors. Conversely, it focuses on museum policy issues. One of its concerns is to improve the image of museums, but it also
aims to stimulate museums to attune to the wants and needs of young people.
Context/scenario: AmuseeVous is a volunteer group that resulted from several projects such as the ‘JongerenMuseumDagen’ (or ‘YouthMuseumDays’) in 2000-2001 and
‘Ontvlambaar’ (or ‘Ignitable’), the alternative museum guide produced by and for youngsters in 2003.
Target group: 16-26 year olds
Description of activities: AmuseeVous became well-known for its ‘Polsbandactie’ (or ‘Wristlet Initiative’) throughout 2005-2007, an initiative that made it possible for young visitors
of the Rock Werchter festival to access a number of Belgian, Dutch and Luxemburger museums for free during the summer. During the last four years, it regularly organised so-called
‘Soirees’, museum nights for youngsters. Furthermore, AmuseeVous was appointed to disclose the arts collection of Cera, a cooperative financial group, to a young audience,
resulting in several exhibition projects such as ‘Silent Revolutions and ‘Broodthaers Onomwonden’ (Broodthaers Outspoken). It also campaigned for and communicated about the 1
euro action, implemented by Bert Anciaux, the Flemish minister of Culture. The 2008 cultural heritage decree issued that recognised Flemish museums have to provide museum
access to young people under 26 for the symbolic price of 1 euro. Overall, AmuseeVous was involved in many other small-scale projects and publications.
Partners involved: AmuseeVous is funded via a special grant from CERA bank. This is a limited budget. Therefore, AmuseeVous also demands funding from the Flemish
government. This government is an important partner: AmuseeVous received grants for several projects in 2008. Example: the Marcel Broodthaers project; a research project on the
relationship between museums and youngsters in Flanders and the Netherlands and the 1 euro project.
Budget/funding (if available): AmuseeVous is a non-profit organisation. It is run by approximately 70 volunteers in Flanders and Brussels. There is one paid coordinator paid via a
CERA bank fund. Other temporary employees are paid via grants received from the Flemish government. In 2010 AmuseeVous hopes to receive a grant from the Flemish
government to continue. The CERA funding will be ended by then.
Year: Established in 2005- present
Lessons learned: AmuseeVous tries to convince young people that museums are not dull. The organisation works with young volunteers. The coordinator develops programmes
together with them. This bottom-up approach is the force of the organisation although it can be hard to work with young enthousiastic people as well. They often have ‘big ideas’ that
are hard to put into practice.
AmuseeVous works in and with museums. Museums still have very hierarchic structures in Belgium and there is a lot of fear within these institutions that the young people are too
demanding. It is not enough that one organisation wants to build a bridge between young people and museums. This will only be possible when the museums themselves are also
convinced that this is important.
Because AmuseeVous is basically a volunteer organisation, it has a special kind of dynamics. On the other hand, the lack of structure and funding on the long term also makes it very
hard for the organisation to sustain in the future. Funding on a more structural basis is necessary. At the policy level, it is important that the government invests in cultural education
in schools but also in a non-formal context (as AmuseeVous shows). url: http://www.amuseevous.be
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Name
BOZAR
Country
Belgium
Timeline
Since 1992
Description
Centre for Fine Arts with strategies to
attract a young audience
Level
Local
Name: BOZAR (formerly known as the Palais des Beaux Arts/ Centre for Fine Arts)
Location: Brussels
Summary: Together with the Belgian National Orchestra and the Théâtre royal de la Monnaie/Koninklijke Muntschouwburg, the Centre for Fine Arts is one of the three federal
cultural institutions. Established in 1992, it has presented itself as a ‘meeting place for all the arts’ and has put a strong emphasis on multidisciplinarity and transversality. Its general
remit has been to provide an international cultural image at both national and international levels. In recent years, BOZAR additionally strives to attract a younger audience, for
example by introducing student discounts, and it has also set up numerous other initiatives and programmes to bring a young audience in contact with BOZAR, its collections and
exhibitions (cfr. ‘Brief descriptions of activities’). The main goal in this respect is to stimulate repeat visits of its young audience.
Context/scenario: The Centre for Fine Arts was founded in 1992 as a non-profit organisation. In 2002, it was converted into a limited public law company with a social purpose. With
the change of status the company goal has broadened considerably, making it a principal cultural player in the fields of music and exhibitions, as well as in other domains such as
theatre, literature and film.
Target Group: As part of their general remit, BOZAR targets a broad audience: families and children, schools, teachers, young people, the middle aged and senior citizens. For each
of these groups it has developed specific programmes and activities. In recent years, special attention has been given to developing initiatives and activities that are addressed to
young audience. Young people are described as under 26.
Brief description of activities: Within BOZAR, the art education department BOZAR STUDIOS has developed activities aimed at several target audiences (cfr. ‘Target group’), one
of which are young people. BOZAR has introduced the so-called Interactive Studios that are open to everyone over the age of 6 and consist of different workstations with various
creative activities, ideas and craft tasks with relation to a certain area, e.g. Studio China or Studio Europe. In 2007, an average of 1700 visitors passed through these workshops. The
education department also provides a range of activities for primary and secondary schools and higher education programmes. Together with the National Orchestra of Belgium, it
has developed ‘Orkest op zijn best’ (or ‘Orchestra at its best’) in which primary school pupils attend a rehearsal, while they are seated in the middle of the orchestra. Secondary
school pupils can experience ‘Klassiek met klasse’ (or ‘Classics with Class’) a musical project in collaboration with Jeugd en Muziek Brussel (‘Youth and Music Brussels’) for schools,
that takes pupils to concert halls. Another initiative aimed at attracting young audiences, in particular people under the age of 26, is BOZARSTART. With BOZARSTART they pay
only 5 euros for an exhibition, concert or performance.
Partners involved: BOZAR cooperates with a large number of cultural partners. These include both occasional partnerships and joint productions and structural cooperation with
about twenty organisations in Belgium and abroad.
Budget/Funding (if available): It obtains its funds from federal government subsidies, ticket sales and to some extent also from commercial activities. The latter take place in the
fields of advertising, sponsorship and corporate events. In 2009, the Centre for Fine Arts has five large structural sponsors: SONY, Nationale Loterij, Belgacom, BMW, and SUEZ. To
give an impression of sponsorship turnover: according to an annual report of BOZAR, 66% of the turnover in 2007 came from sponsors.
Year: Established 1992 – present
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Lessons learned: In recent years BOZAR’s communication department has strongly invested in art education specifically aimed at children and young people. This has resulted in a
significant rejuvenation of its audience and indicates that a communication strategy that targets young people can be successful: initiatives such as Museum Fever Night, in which
young people can visit 14 Brussels museums, including BOZAR, throughout the evening into night (19h-01h) at a fixed price (10 euros), attracted approximately 10 000 visitors in
2009. Bozar invests strongly in youth communication and advertising campaigns. These actions have an impact since the audience has become younger the last couple of years.
url: http://www.bozar.be
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Name
Gobots
Country
Belgium
Timeline
Description
Level
Website for fostering creativity of
young people
Civil society initiative
Name: Gobots
Summary: Website of the organisation CJP (Cultural Youth Passport) that distributes a pass for young people to participate or consume culture at a reduced price. Young people
mainly use this card for popular culture activities and for buying cultural products. CJP as also an organisation that dconducts research (on a small scale) on youth culture. A survey
on the cultural behaviour of young people in 2008 showerd that young people have a very low interest in museums and expositions.
url: http://www.cjp.be / http://www.gobots.be
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Name
Country
Timeline
Association of
Bulgaria
2001-2006
Independent Young
Talents
Name: Association of Independent Young Talents (AIYT)
Description
Educational programme
and creative writing)
Level
(literature
National
Location: Sofia
Summary: Youth association for literature, creative writing and literary education.
Context/scenario: Youth association which originally aimed to provide support to young people for developing and exhibiting their artistic potential. At a later stage the association
specialised in literature and youth, and developed a nation wide membership list.
Target group: Young poets, fiction authors, essayist, other writing youthaged 15 – 35.
Brief description of activities:
•
The Association organised literature club ‘Ikar’ which carried out poetry/literary discussions and debates, information seminars for its members on styles and streams
in poetry and literature.
•
The Association collects and finds channels for promoting the work of its members. It supports a network with publishing houses and periodicals which publish cultural
rubrics. The most successful and long lasting cooperation of the Association is with the famous New Pulse Newspaper on literature. The New Pulse is a revived
ancestor of the Pulse Newspaper – one of the first literary periodicals in the country after the Renaissance in Bulgaria (19th century in the country, because of the
Ottoman period which lasted until 1878).
•
The Association publishes Anthologies of Bulgarian Poetry on annual basis. The works collected in the Anthologies are selected through an open nationwide
competition for young poets. This is also the main channel for identifying new talents and inviting them to join the Association.
•
In 2008 the Association transforms its old website into a new url which provides a constantly updated database with works of its members. The website is interactive
and allows evaluation of the provided readings. There is a ranking system from 2 to 6 (corresponding to the grading system at the country; 2 is poor; 6 is excellent)..
Partners involved:
•
UNESCO (2002)
•
UNDP
•
Hungarian Cultural Institute, Sofia – 2002-2006 under Prof. Dyord Sondi’s Directorship
•
The New Pulsee Newspaper
•
Chitalishta in Sofia (ex. Slavianska Beseda Chitalishte) and the country (in Pleven, Montana, Velingrad etc.).
•
American University in Bulgaria Literature Club, Blagoevgrad
Budget/funding (if available): The Association is non-profit organisation which is responsible for generating its budget on a project basis.
Year: 2001-2006 – Association of Independent Young Talents, since 2006 – Literary Club Ikar
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Name
Treasure Quest
Country
Bulgaria
Timeline
Ongoing
Description
Multimedia tool in Bulgaria for
children in South East Europe in
order to raise awareness of cultural
heritage
Level
Multimedia
Name: Treasure Quest
Summary: The theme of the Forum is the cultural corridor Eastern Trans-Balkan road. One of the goals of the the Forum is to foster the partnership between Greece – Bulgaria and
Romania for sustainable development of cultural heritage, cultural tourism and cultural industry along the Eastern Trans-Balkan road.
An integral part of the Regional Forum in the Exhibition Cultural Corridors and Cultural Heritage of South East Europe, arranged by the Association for Cultural Tourism. It will present
the cultural treasures of the region along its development and the role of the Eastern Trans-Balkan road and the major cultural values along Eastern Trans-Balkan road.
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Name
“Ludmila
Jivkova
–
Banner
of
Peace”
Foundation
Country
Bulgaria
Timeline
Since 1999
Description
Art projects for children and young
people
Level
Private initiative
Name: “Ludmila Jivkova - Banner of Peace” Foundation
Location: Sofia
Summary: The “Ludmila Jivkova - Banner of Peace” Foundation is based on the ideas of “unity, creativity, beauty”. It invites children into creative activities and aims at building
intercultural tolerance and dialogue.
Context/scenario: The first Children Assembly “Banner of Peace” took place for the first time in 1979 in Bulgaria and was dedicated to the International Year of the Child. The
Assembly was planned to have a biennial character and it was implementing this plan during the years of communism and shortly after the death of Ludmila Jivkova. The transition
period prevents the continuation of Ludmila Jivkova’s idea of linking culture and youth with the world peace cause, stigmatizing this idea with the label of being communistic. In 1999
the NGO “Ludmila Jivkova – Banner of Peace” Foundation was established as an NGO which states its political independence and indifference and underlines clearly its culture and
youth mission. The NGO is a member of the International Banner of Peace Movement, but has also its explicit national orientation towards the children of Bulgaria and their ethical
and aesthetical education and development.
Target group: Children and young people
Brief description of activities: The Foundation conducts artistic competitions between children and young people in music, dance and painting.
Partners involved:
Ideological Partner:
International Banner of Peace Movement
Coorganizers of Children Assembly 2004:
National Complex of Education in Culture “Gorna Banya”
Atlantic Club
Bulgarian Olympic Committee
PR Media Practitioners Team
Trivia
Sponsors:
Billboard Print
Sopharma
Print House “Trud I Pravo”
Coca-Cola
Sofia Land Entertainment Park
“Monitor” Newspaper
Metro Media – Advertisement in the Metro
Jolly
Electric Power Supply ‘Gorna Oriahovitza’
“Nedelia” Sweet Shop
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-
Aroma Cosmetics
ASI Company
Stilmet
“24 Hours” Newspaper
BNT – Bulgarian National Television
Darik Radio
Nova TV
7 Days TV
bbt
Budget/funding (if available): Corporate social responsibility – sponsorship of the Children Assembly 2004 – 20 business and media organisations, among them general sponsor
Allianz, Bulgaria
Year: 1979 – 1989 Children Assembly Banner of Peace
1999 onwards – “Ludmila Jivkova – Banner of Peace” Foundation
Lessons learned: The formation and activity of the NGO ‘Ludmila Jivkova-Banner of Peace’ Foundation is an example of three main factors for success:
•
Sustainability of ideas –an internationally proclaimed and supported organisation with strong connection with the national culture;
•
Political independence but with political support and cooperation – the NGO alienates itself from any political party. Yet, it welcomes support and sponsorships from political
and diplomatic personalities.
•
Funding is organized on ad-hock basis which so far is the main reason for the breaks in the consistent work of the NGO and gives the impression of sporadity of its
activities, though its mission and strategy are very clear cut and well founded in Ludmila Jivkova’s theses on culture. Such initiatives require constant flow of funding
sources.
Results (if any):
-
Children Assembly was held in 1979, 1982, 1985, 1988 - 3 900 kids from 138 countries and 14 000 children from Bulgaria have taken part in them
2004 the NGO “Ludmila Jivkova - Banner of Peace” Foundation organized a modernized version of the Children Assembly as continuation of the period before 1989.
url: http://www.bannerofpeace.hit.bg/index_oficial.htm
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Name
State Institutions
Further Education
for
Country
Cyprus
Timeline
Since 1960
Description
Learning centres for students and
adults
Level
National (Ministry)
Name: State Institutions for Further Education
Location: Learning centres which operate across the island in both urban and rural areas
Summary: The State Institutions for Further Education have been providing lessons to students and adults since 1960, in both urban and rural areas. The aim of this government
initiative is to offer equal opportunities for education to thousands of residents, while also promoting lifelong learning in the process.
Context/scenario: N/A
Target group: The State Institutions for Further Education are available to all citizens aged 15 and over, residing in both rural and urban areas
Brief description of activities: Through the State Institutions for Further Education, Cypriots aged 15 and above are offered the opportunity to obtain a holistic educational
experience that encourages their individual personal development and fosters the improvement of their quality of life.
The scheme is heavily subsidised by the State, thereby ensuring low tuition fees and the provision of high quality education through qualified teachers. The annual tuition fees are 51
Euros for individuals residing in urban areas and 41 Euros for those residing in rural areas. Typically, lessons consist of from 22 to 29 weeks of 90-minute sessions, administered from
late October to late April. Over 60 subjects are offered, including, but not limited to, dancing (Latin, modern, Cypriot folklore, Greek), painting, music, arts and crafts, literature
(children’s literature and Cypriot literature), theatre and foreign languages (English, Arabic, Bulgarian, French, Italian, German, Spanish, Chinese, Romanian, Russian). Moreover,
through this scheme, Greek-Cypriots are provided with free Turkish language lessons, while Turkish-Cypriots are offered free Greek language lessons. This initiative aims at
enhancing relations between the members of the two communities.
There is a tendency for young people to take up such courses, particularly females and those residing in rural areas. According to the Ministry of Education and Culture, popular
courses, which attract large numbers of citizens, include Greek folk dances, foreign languages, computers and art. An additional service is the provision of free transportation to both
teachers and students (in special circumstances), thereby providing greater access to culture.
Partners involved: Ministry of Education and Culture
Budget/funding (if available): N/A
Year: In operation since 1960
Results (if any): N/A
url: www.moec.gov.cy/epimorfotika
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Name
Country
Timeline
Description
Youth initiatives project
Cyprus
Since 2008
Promotion
participation
Level
of
active
youth
National (ministry)
Name: Youth Initiatives Project
Location: Island-wide programme (Nicosia, Limassol, Larnaca and Paphos)
Summary: The “Youth Initiatives” Project offers young people the chance for mobility and active participation in the cultural, political and social life of Cyprus. It aims at contributing to
the creation of Active Citizens. These activities aim at achieving and maintaining a balance between personal growth and collective activities in every section of society, particularly
those concerning young people.
Context/scenario: Promotion of active youth participation in society.
Target group: Open to all individuals and organisations that work or deal with young people.
Brief description of activities: Through the “Youth Initiatives” project, young Cypriots are provided with the opportunity to apply for funding, in order to organise various actions and
initiatives. Young people and youth organisations can apply for any of the following actions:
Action 1: Active participation
Action 2: Social intervention (Sub-actions: environmental protection, prevention activities, social discriminations, gender relations, sports and young people)
Action 3: Bi-communal dialogue empowerment
Action 4: Educational excursions
Action 5: Youth centres’ initiatives
Action 6: Cultural interventions
Action 7: Support measures (Sub-actions: participation of young people in conferences abroad; reading and young people; decoration and forming of special places for young
people; introduction to new technologies; international cooperation of youth organisations)
Action 8: Non-formal learning and innovation
There have been approximately 700 applications , 50% of which involve staging cultural activities in the form of theatre, music and dance performances. Interested parties are given
70% of the requested funding in advance, and assistance in the preparation and execution of the activities and actions. The remaining 30% is given after the event has taken place
and upon submission of all necessary receipts and invoices. There are 6 application deadlines per year and participants are expected to apply 2 months in advance of the event.
Partners involved: Youth Board of Cyprus / Ministry of Education and Culture
Budget/funding (if available): The total annual budget for the programme is approximately 2,185,300 Euros, with 220,000 Euros allocated specifically to cultural activities. An officer
at the YBC explained that there is a degree of flexibility in the budget and that it is possible to transfer funds from one action field to another depending on demand and interest. The
programme is funded completely by the Ministry of Education and Culture.
Year: Launched on 1 January 2008 as an annual programme – ongoing today
Lesson learned: The “Youth Initiatives” project is relatively new and yet it has quickly become popular among youth and youth organisations with over 700 applications received so
far. The project administrators invite participants to attend meetings (held monthly) in which they are given the opportunity to share their experiences and evaluations of the project.
Young people have indicated problems in the length of the application process, which has resulted in 6 application deadlines per year. This way, young people have the opportunity,
with a little bit of forward planning, to secure the necessary funding to stage various cultural events throughout the year.
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url: www.youthboard.org.cy
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Name
International Children’s
Film Festival of Cyprus
Country
Cyprus
Timeline
2008
Description
Film festival for children
Level
National
Name: International Children’s Film Festival of Cyprus (ICFFCY)
Location: Nicosia, Limassol and Larnaca
Summary: The ICFFCY is the only festival of its kind on the island that combines movies and education within one programme for children, teachers and parents. The fifth edition of
the festival was held in 2008. The festival aims at inviting children to discover the history of cinema by encouraging the comparison between old and new films and through exchange
of ideas. Additionally, the festival strives to stimulate children’s thinking, observation skills, research capacity and overall creativity, by transferring their own understanding of movies
into workshops under the guidance of professionals.
Context/scenario: Cinema and its role in the lives of young people.
Target group: Primarily young school children, as well as film lovers.
Brief description of activities: Morning screenings of cartoons, short films and long features in 3 cities. A group of children was selected to serve as a jury and to watch 12 films
screened in Nicosia. Under the guidance of professionals, these young children learned how to view films with a critical eye in order to understand how cinema affects people, as well
as how to evaluate films using specific criteria. In the end, the group selected one film that received the 2008 ICFFCY Distinction Award. Other workshops were organised as part of
the festival, and offered to both Greek-Cypriot and Turkish-Cypriot youth. These included workshops on podcasting, fiction, documentary, music video, animation, narrative filmmaking
and photo-montage.
Partners involved: Ministry of Education and Culture (main sponsor), Pantheon Art Cinema, Educational and Cultural Initiatives Ltd, Society of Letters and Arts
Year: 15-23 November 2008
Lesson learned: N/A
url: www.icffcy.org
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Name
Folklore
(FA)
Association
Country
The Czech Republic
Timeline
2008
Description
The biggest NGO that units children
and young people up to 26 years of
age
Level
National
Name: Information centre of the FA
Location: Prague, city centre
Summary: With the financial support of the Chamber of Deputies of the Parliament of the Czech Republic, the Folklore Association managed to open an information centre that
serves members of the association and visitors of Prague. A brochure (80 thousand copies) called The most important folk festivities in the Czech Republic was published as well as
the catalogue of Folklore tours and a folklore calendar for 2008. All these publications were also made available abroad through the Czech centres.
Context/scenario: The Folklore Association is represented in all regions of the Czech Republic and is an association with the biggest number of active members of ensembles and
clubs. At first sight this might seem as trivial information but one of the features of the post-Communist society is the repulsion of ordinary Czechs towards memberships in
organisations and discharging member duties. This is the reason why there are only a few nationwide associations and their member base is quite insignificant. The size of the
Folklore Association allows a nationwide view and the information system offers promotion of members’ activitiesattractiveness, which can increase its attractiveness.
Partners involved: The Parliament of the Czech Republic, the MEYS (finances the Folklore Association and its projects), the MC (takes part in the activities of the Folklore
Association through non-investment grants)
Target group: Members of the association and visitors of Prague.
Budget/founding (if available): 10 mil .CZK, from that 7 mil. CZK as a grant from the Parliament (through the MC), 750 thousand CZK as a grant for editorial activity (MEYS)
Year: 2008
Lesson learned: The information centre proved its viability during the first year of its existence. It achieved to make traditional folk culture well known in the Czech Republic and
abroad. It has become a form of agglutination of members because the centre also serves as a meeting point of the Folklore Association members.
url: http://www.folklornisdruzeni.cz/en/
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Name
Young Scene
Country
The Czech Republic
Timeline
Since 2004
Description
Level
Amateur theatre event for young National
people
Name: Young Scene (a nationwide theatre show of student theatre), the main organizer is the semi-budgetary organisation of the MC (NIPOS)
Place: Ústí nad Orlicí
Summary: Amateur theatre in the Czech Republic ranks among the traditional and very popular spare time activities. The National Information and Consulting Centre for Culture
(NIPOS) organised among its activities a show of the best student theatre performances in the country
Target group: Young people interested in amateur theatre who attend high school
Partners involved: Association Little Scene Ústí n.Orlicí, MKI, town Ústí nad Orlicí
Budget/founding (if available): 350 thousand CZK/ grant MK 220 thousand CZK
Year: Annually
Lesson learned:. There is a fairly recent boom of student theatre and the nationwide festival was launched to facilitate visibility of student theatre productions and to foster the
participation of young people in this kind of activities
url: http://www.nipos-mk.cz/text.asp?ID=1035
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Name
People in need
Country
The Czech Republic
Timeline
2008
Description
Level
National
Name: Člověk v tísni: Programy mltikulturního vzdělávání v ČR (People in Need: Programmes of multicultural education in CR)
Location: Praha and CR
Summary: The objective of the project was to gather and analyse a greatest possible quantity of information about programmes of multicultural education and carry out an analysis
of their effectiveness.. The analysis included recommendations on how to make multicultural strategies more effective in order to make them as realistic as possible concerning their
objectives, effective in respect to their results, and meaningful and consistent as far as their theoretical solution is concerned. This objectivewas completed as accessible academic
research material about multicultural education had been collected and analysed in the Czech Republic . This information was then compiled and analysed. The search for good as
well as problematic practices was the focus not only of the concluding report but also of the final conference of Nove Varianty (New Varieties on multicultural education) - . The
ultimate objective was to seek the most effective ways of multicultural education based on skilled and meaningful theoretical background.
Target group: Students and youth, experts and general public
Partners: Ministry of Education, Youth and Sport
Budget/founding (if available): N/A
Year: 2008, similar projects annually
Results (if any): The outcome of the project, which is the concluding report of the research, iscurrently being distributed, in accordance with the project’s objectives, amongst
multicultural educators, skilled personnel and the public The destinataries are mostly university educators teaching multicultural education as well as other educators and future
educators.
url: www.clovekvtisni.cz; www.varianty.cz
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Name
C:NTACT
Name: C:NTACT
Country
Denmark
Timeline
Since 2004
Description
Educational and integration programme
Level
Local
Location: Copenhagen
Summary: C:NTACT is an independent fund, dedicated to integration and education, based in the Betty Nansen Theatre in Copenhagen. Founded in 2004, C:NTACT started as the
Theatre’s integration and education unit with a focus on theatre. In 2005 it became a separate fund. Today C:NTACT provides a wide range of activities to 13-25 years olds with
different cultural and social backgrounds.
Context/scenario: Focusing on young people’s personal stories provides an opportunity to involve different people in a joint project and provides the young people a way to express
themselves.
Target group: 13-25 year olds with different cultural and social backgrounds
Brief description of activities: The activities are administrated in four main units: C:NTACT /SCENE (theatre), C:NTACT/MEDIE (media – film and radio production), C:NTACT
/SKRIVESKOLE (written communication), C:NTACT /UDDANNELSE (education – different courses). Facilitators in production and workshops are young professionals who can
provide the young people with tools and guidance to communicate their own personal stories on the scene, in a film, on a radio or in writing. Currently around 300 young talents are
involved in the C:NTACT’s activities. C:NTACT/Taskforce is a group of young people from various backgrounds, offering on-site performances and post-show debates that focus on
integration, diversity and cultural issues and are based on their own stories.
Partners involved: C:NTACT receives funding from the Bikubenfonden, The Danish Ministry of Refugee, Immigration and Integration Affairs, The Danish Ministry of Culture, The
Danish Ministry of Education, and the Danish Film Institute.
Year: Ongoing since 2004
Lessons learned: A theatre is meant to be a place where communication takes place in different, more alternative ways. It provides a safe forum for expressing oneself and telling
one’s personal history. Young actors gain a better understanding of their identity and improved social skills. The audience gets a cultural experience and can reflect their role in the
society and their possible prejudices. In case of young audience, the actors can also be seen as role models. C:NTACT focuses on the diversity and meeting so called “others” in the
Danish society. The term they use is “reality theatre” as the plays are based on real stories. It is criticised that C:NTACT gives these stories a frame and thus shapes them to fit a
wanted form. A research on the topic (Master’s Thesis) concludes that “genres as hip-hop and street-dance do cause a somewhat stereotypical representation of the young
participants, but it also incorporates them in a general, popular youth culture, and in that sense Maveplasker (the name of the play) has a potential to show an increased diversity of
‘the others’ (Bach 2008)”.
Results: C:NTACT has annually some 15,000 viewers of their film and theatre productions and 65,000 listeners to their radio productions and a large audience for their articles in an
Internet magazine “Metroxpress”. The majority of their audience is young people. In 2008, C:NTACT received The Ministry of Refugee, Immigration and Integration Affairs’ annual
“integration reward” (integrationspris).
url: http://www.cntact.dk/
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Name
MINDSPORT
Name: MINDSPORT
Country
Denmark
Timeline
2007-2009
Description
Art and culture projects in a library
Level
Local
Location: Århus (International spelling: Aarhus, the second largest city, situated in Jutland, about 300,000 inhabitants)
Summary: Mindspot is a youth project at the Århus Main Library. Through a dialogue with young people, the project aims at involving them in planning, development and execution
of different cultural offers at the library.
Context/scenario: The objective is to attract young people to come and use library facilities, and engage in different art projects. At the same time, the project aims at gathering
information about what kind of hopes, requests and demands the young people have for cultural activities as well as testing the new initiatives.
Target group: 14-20 year olds
Brief description of activities: Mindspot has opened a “learning center”, with new computers and a cool lounge atmosphere, where young people can edit film clips and pictures,
listen to music and concerts, get help with their homework, join a local book club – or simply just chill out after school! They arrange events and virtual forums (e.g. www.mindspot.dk,
www.myspace.com/mindspotdk) and cooperate with external partners including schools. Six young “Mindspotters” between 16-21 years are requited to ensure that the project
develops to the right direction.
Partners involved: The project is funded by the Danish Agency for Libraries and Media
Budget/funding(if available): N/A
Year: 1.1.2007-1.4.2009.
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Name
Country
Dvoted.net
Denmark
Name: Dvoted.net (Nordic initiative)
Timeline
Description
Portal for young Nordic filmmakers
Level
Regional (Nordic)- portal
Location: Online at http://www.dvoted.net (Nordic website)
Summary: A website where young people meet to share and develop their filmmaking together
Context/scenario: Dvoted aims to develop talented young Nordic filmmakers, their craft, their stories and ideas. After all storytelling in a Nordic context has a long history – and so
has Nordic filmmaking. Dvoted wants to identify and develop the talent and skills of every young person who has the ambition to tell stories in moving images.
Target group: Young Nordic filmmakers between 15 -23 years old
Brief description of activities: 1) Upload, watch and discuss films in ARENA; 2) Get feedback and advice from professional filmmakers in MENTOR; 3) Receive updated
information on film production, education and festivals in ACADEMY. In addition, real life activities such as offline workshops and competitions at Nordic youth film festivals.
Partners involved: Subsidized by the Scandinavian Film Institutes and the Nordic Council of Ministers
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Name
Country
Timeline
Unges laboratorier for Denmark
kunst
Name: u.l.k. “unges laboratorier for kunst” – young people’s art labs
Description
Online access to art for young people
Level
Portal (national)
Location: online at www.smk.dk/ulk and offline at the Danish National Gallery (Statens Museum for Kunst), Copenhagen
Summary: An art project, where young people can experience, contribute to, share knowledge and create art together with other young people. Online 24h a day and onsite when
there are events, workshops or arranged classes for schools.
Context/scenario: A new way of communicating art to young people, makes use of new technology. Young people are challenged to visit museums and find their own answers to
how art can be interpreted and understood. u.l.k. engage and motivate young people by transforming them into contributors, creators and active art producers, rather than passive
spectators.
Target group: Everyone interested in art – but especially young people
Brief description of activities: Meeting other young people who enjoy art; creating things that are taken seriously together; meeting artists, researchers and educators who listen to
your ideas. u.l.k. mixes Golden Age painting and electronic music, performance and YouTube videos and teaching.
Partners involved: u.l.k. is the result of collaboration between art pilots, researchers, museum educators, artists of all kinds, interior architects and Mediatrope, the software
producer.
url: www.ungeslaboratorierforkunst.dk
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Name
Country
Plink-Plonk
Estonia
Name: Festival Plink-Plonk
Timeline
Since 2005
Description
Independent music festival
Level
Local
Location: Tartu, Estonia
Summary: Plink-Plonk is an alternative non-profit musicfestival, taking place annually since 2005. It titles itself as “ independent music festival” and its goal is to introduce alternative
music to Estonian audience. Bands from Estonia and also abroad are performing.
Target group: All people, mostly young people who like alternative music
Budget/funding (if available): Plink-Plonk is a festival organised by a network of friends. Every year the approximate number of audience is 1000 people. This is a non-profit
festival, all the benefits go for covering the costs.
The budget is usually composed of funding from the city of Tartu, Kultuurkapital and organisers and their friends´ own activity...
Plink-Plonk is an example how it is possible to organise annually a very respected festival with a very low budget, at the same time being a good example of civil activity when it
comes to organising culture events.
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Name
Kultuuritehas
Name: Kultuuritehas
Country
Estonia
Timeline
Since 2002
Description
Civil society / non-profit initiative
Level
Local
Location: Tallinn, Estonia
Summary: Kultuuritehas evolved from civil activity in 2002. Since 2004 it is officially registered as a non-profit organisation Kultuuritehas Polymer. The correct translation from
estonian would mean “culture-factory”. It is, among many other similar factories in Europe, also part of an international network of such culture-fostering centres called European
Network of Independent Culture Centres.
Kultuuritehas is a place where different types of artists such as musicians, handicrafstmen, painters and non-profit culture organisations work under the same roof. Such a mixture of
artists creates a very inspiring enviroment.
Brief description of activities: Kultuuritehas organises festivals where music and visual art are united, exhibitions and fairs where young artists can introduce and sell their
creations etc.
At the end of 2008, Kultuuritehas created a precedent in Estonia by expanding its board members remarkably in order to achieve better results and to integrate all the artists sharing
the factory rooms.
Target group: The target group of Kultuuritehas consists mostly of young people interested in culture and culture-related activities.
Budget/funding (if available): Kultuuritehas is a non-profit organisation. In case of bigger events it seeks funding.
Kultuuritehas is certainly one of a kind in Estonia and it gives a good example on how old factories and generally abandoned houses can, with limited resources, be turned into lively
units that support culture-consuming and broaden the idea of a culture-scene. It is a space where active young people who are interested in alternative cultural production, not profitmaking, can express themselves.
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Name
Youth
Siperia
Culture
Club
Country
Finland
Timeline
Since 2000
Description
Creative space for creative activities
for young people to produce art and
culture
Level
Local
Name: Youth Culture Club Siperia
Location: Jyväskylä (a town in central Finland with 130 000 residents)
Summary: Youth Culture Club Siperia is a space for creative activities, and it offers young people (13-29 years) a relaxed setting to independently produce art and culture. The
young people organise events, theme nights, art projects and exhibitions. Siperia is also a venue for various clubs, courses and workshops for young people, as well as a meeting
point for many informal youth activity groups. Siperia was put up by the Cultural Association Väristys which still runs the place in co-operation with the City of Jyväskylä Youth
Services. Besides the premises of Siperia, Väristys offers help for young people to develop their creative potential – but only when the young ask for it themselves. The young
themselves define what cultural and artistic activity is for them. To enhance participation is one of the key motivations behind the activity of Siperia.
Context/scenario: Jyväskylä Art Museum gave its temporary exhibition rooms completely over to the young for five weeks in 1999. With the museum’s support, a group of young
people produced an art exhibition and a series of events. The experience was so powerful that the process resulted in the young establishing their own cultural association Väristys.
Thanks to the impressive outcome and publicity, those young people got also adults behind them – politicians, people from the youth and cultural sector – to grant the resources to
continue the activity. The city ceded old woodwork premises to Väristys and Youth Culture Club Siperia was born in April 2000.
Target group: The main target group is young people aged 13-29. However, young people also make performances and organise events to other groups ranging from school
children to senior citizens. The young at Siperia have also worked together with e.g. visually handicapped.
Brief description of activities: Siperia supports self-directed cultural activities arranged by young people by 1) offering free space for groups so that they can develop their activities
and 2) organising art courses and participatory art activities. Users of the premises of Siperia include e.g. such youth culture clubs as anime and manga group (organising events for
drawing manga, playing games and movie nights), dance group, djembé drumming club, live action role players, and EU Youth in Action exchange group, among many others. Most
of the groups are operating on their own, and only occasionally, when needed, supported by an adult. The themes for art courses and other participatory arts activities are proposed
by the young users of Siperia. Besides courses concentrating on different art forms from visual arts and cinema to theatre and performance, young people have demanded activities
concentrating e.g. on developing urban environment and bringing arts to the institutions of disabled people. Taking part in an art course means participating in every phase of making
an art work/performance from planning to producing and performing it. Professional artists are usually supporting the group but it is also possible that the young do everything
themselves.
Partners involved: Cultural association Väristys has made a partnership agreement with the Youth Services of the City of Jyväskylä for running Siperia.
Budget/funding (if available): The annual budget for activities is around 60 000-70 000 euros. The City of Jyväskylä gives Siperia its premises free of charge, so there are no
renting expenses included in that sum. The financial support of the City covers 80 % of the salaries of the two employees of the club. Also, the cultural association Väristys search
project funding from all possible sources ranging from regional and national funds to EU funds.
Year: The club is founded in 2000 and is still in activity.
Lessons learned: The experience has shown that the model for organising cultural activities for young (or rather letting them organise their activities) must be very flexible in order to
answer the fastly changing needs of the youth culture. Also, many challenges have arisen, and there have been a need to turn them into strengths rather than obstacles. Even
though the activity has been very successful, there is a constant need for justifying the need for such a place. For many people, it is difficult to understand the instrumental value of
the place, not to mention its intrinsic value.
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Results (if any): As a result of the activity of Siperia, self-directed cultural activities of young people have been put on the agenda of the Youth Services of the City of Jyväskylä.
Siperia has also created a new model for producing youth activities in Jyväskylä. The cultural association Väristys behind Siperia has gained an important role in the youth policy of
the city and has been consulted in different questions regarding the participation of young people in culture. Also, one of the two producers working at Siperia was invited to
participate in the planning of the EU’s White Book on Youth Policies. Siperia itself has gained quite a lot attention in local and national media. As the activity of Siperia started on a
temporary basis, the fact that the club still exist can be regarded as a triumph for the local youth. Siperia has been successful in attracting new users all the time. Young people
starting up the club have really been committed to the activity, and they passed this commitment to new generations of young people and thus created a “chain of commitments” that
holds over the years. Besides the results gained at institutional level, Siperia has also had a strong impact on the personal development of some youngsters. As one of the first
‘Siperia youngsters’ puts it: “It changed my whole life!”.
Highlights: Siperia or the young people behind it have gained two trophies: the exhibition organised by the Siperia people at the Jyväskylä Art museum was named the best
museum act in Finland and Siperia itself the best youth work act of the region of Western Finland. The activities of the club have gained a lot of attention in local and national media
and have been recognised as a best practice among the people working in field of youth culture.
url: http://www.siperia.info/
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Name
URB Festival
Country
Finland
Timeline
Since 2000
Description
Art festival initiated by the Kiasma
Museum
Level
Local (festival)
Name: URB festival
Location: Helsinki, Finland
Summary: URB is an annual urban art festival organised by Kiasma Theatre
Context/scenario: Kiasma Theatre has produced URB festival since year 2000. It is an urban art festival aimed at younger audiences that takes place annually in late July and early
August. The festival has presented wide range of local and international artists in different disciplines.
The idea for an Urban Festival was born in connection with the opening of Kiasma. It was linked to the policies that the new museum of contemporary art was promoting as a new
kind of center for visual arts and culture in general. The decision to include a theatre space with its own programming meant that performing arts would be strongly present. Words
such as active, open, lively, meeting point and living room for the people, were used a lot during the first years. Young people were named as an important target group.
One of the starting points of the URB Festival was the opening event in front of Kiasma. It was decided that the main act on the outdoor stage was to be the American hip hop dance
company Rennie Harris Puremovement. The performances gathered a big audience and enjoyed great success. The organizers were encouraged both by this and by the fact that
young persons from various ethnic groups were present in the audience. These young people thanked the organizers for presenting something that was “finally something for us”.
The number of foreign citizens increased significantly during the nineties in Helsinki and the metropolitan area. For the staff of Kiasma it was it was an inspiration to think about the
changing urban culture and create something new that would reflect it.
The first Urban Festival was arranged in year 2000 as part of the cultural capital programme. It was a three-week event with a broad range of performances and concerts around the
theme “From Jazz to Hip Hop”. As an artistic project the URB festivals wants to explore the connections between vernacular and more academic forms of dance and to present the
new hybrid forms that are emerging internationally and also, in a smaller scale, in Helsinki. The two first festivals we organized in co-operation with a youth collective called
“Rockin´n da North”. Together the different parties behind the URB Festival haveorganized outdoor concerts and graffiti projects which have gathered big audiences and caused a lot
of controversy.
Target group: The main target group is young people aged 14-30
Brief description of activities: The festival takes place in late July early August and lasts approximately 10 days. The programme includes dance and theatre performances,
exhibitions, films, art events in city space, workshops and clubs. The URB festival programme has included both domestic and foreign contemporary and hip hop-based dance
performances, films, theatre, urban poetry and free concerts on Kiasma Stage. In addition to Kiasma, Stoa the Cultural Center of Eastern Helsinki and starting this year also Savoy
Theatre are used as festival venues.
The educational aspect has been central in URB and during these years Kiasma Theatre has organized art education and community projects in connection with the festival. The
organisers hope to support also young artists with non-academic background on the way to have careers in art and culture.
subURB project in eastern Helsinki was the real learning process in terms of intercultural dialogue. The main target groups were less-privileged young people, including the ones with
immigrant background. The organizers of the URB festival wanted to promote the discussion and negotiation around the theme of third space as a possibility for new identities and
forms of expression. For them, intercultural dialogue has been linked to the idea of pluralistic and open society which accepts different political, cultural, sexual and ethnic identities
and subcultures. On the individual level subURB arts education and community project aimed to promote creativity, critical thinking and activate the young people. The workshops
were planned together with local actors and artists. The content was strongly linked to the festival programme and varied yearly. Among others, the subjects included learning skills
with new technologies such as graphic design, video editing and streaming. Dance courses were important and effective in reaching young people from various cultural
backgrounds, totaling sometimes half of the participants. In some cases the courses were tailored to specific groups. In Myllypuro a dj course was taught in Russian and a translator
was hired for a theatre workshop with Kurd participants.
subURB project included performances in Stoa, cultural centre in eastern Helsinki by international professional artists. They also gave workshops and short lectures on their work.
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The idea was to transmit their experiences and success stories for the young people and to encourage them to think about art as a possible career. SubURB culminated in 2006 with
Summer Job project. 40 young people were offered the possibility to work for one month with artists. The subURB project ended in 2006 as the the EU Urban II Programme funding it
got to an end.
Partners involved: Cultural Capital 2000 Foundation, EU Urban II Programme, City of Helsinki Cultural Office.
Budget/funding (if available): 200 000 euros (2006)
Year: The festival was founded in 2000.
Lessons learned: After the first years, when the cultural capital project funded the festival, it has been a real challenge to find ways to finance the festival. It has forced the
organisers to evaluate the content and practices, and to find new, sometimes a bit surprising, partnerships. The most important one has been the EU funded URBAN II community
programme without which the festival would probably not exist today. Between 2002 and 2006 it funded the subURB –project and it was significant in developing the practices and
securing necessary funding.
Results (if any): The festival has brought its own urban energy to the summer of Helsinki and paved the way for new art forms in the streets and institutions. The original idea of
URB was to make space for urban dance, but the festival has evolved into a celebration of all art forms. It has given birth to the new and unexpected, and supported the discourse on
urban culture and art. Hip hop culture has played an important part in addressing these questions both locally and internationally.
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Name
Country
Sulkasato
Writers’ Finland
school
Name: Sulkasato Writers’ School
Timeline
Since 2006
Description
A project to teach children and young
people creative writing
Level
National (virtual)
Location: http://www.sulkasato.fi/ - a web project
Summary: Sulkasato teaches children and young people creative writing: short stories, novels, poetry, drama, pop lyrics etc. For example, the following courses have been
organised: “Learning to write horror stories”, “Black box – how to write about sorrows and angst”, “Writing love poetry”, “Learning to build an own modern fantasy literature world”,
“How to begin to write a novel?” and “ABC of a short story”. Teachers are mainly professional authors. All activities are organised through the project’s website.
Context/scenario: Sulkasato was created as Nuoren Voiman Liitto, a Finnish young writers’ association, wanted to offer possibilities for learning creative writing also for those who
could not access it in their living area. Sulkasato is only one of the activities organised by Nuoren Voiman Liitto. Besides, it organizes literature happenings and poetry reading
evenings, gives different kinds of writing courses and offers feedback for young writers who have not published yet.
Target group: Children and young people, aged 10-17. The project has also approached the young in vulnerable situations, such as those living in orphanages.
Brief description of activities: Sulkasato organises 10-12 writing courses every year. One course lasts 5 weeks and includes 5 tasks for pupils to fulfil. The pupils send their texts to
the teacher via e-mail and get personal feed back from the teacher on each text. The pupils can discuss the topic in question and their texts on the project’s website where each
group has its private area where only the participants can access. Besides, there is a public area where young people can find information on courses and are provided with tips on
interesting books. Young people also apply for courses though the website. 20 pupils are accepted in one group. However, there are far more people interested in the writing
courses. There are no special prerequisites for taking part, but fastest get the places. However, there is a limit that one child/youngster can only participate in one course per term.
Partners involved: Nuoren Voiman Liitto is the organiser of Sulkasato’s activities. It has got financial support from the Finnish Ministry of Education, Art Council of Finland and the
Myrsky Project of the Finnish Cultural Foundation.
Budget/funding (if available): The budget for organising the activities for one year is 20 000 euros.
Year: Sulkasato started in 2006, the funding is guaranteed till 2010 through the Myrsky project.
Lessons learned: There has been a great demand for this kind of activity. The pupils come all around Finland, and also from abroad. These young people don’t have the possibility
to take part in creative writing activities in their living area – or might be too shy to participate. The formula of the courses makes it possible to participate also anonymously if wanted.
The 5 week course period seems to be ideal as it doesn’t demand too long a commitment but still makes it possible for some kind of online “course community” to build up during
these weeks. Young people interested in writing can make friends with other youngsters having the same orientation and do not need to feel like a “rare bird” in their living area if they
are no other writers there.
Results (if any): Hundreds of pupils have already joined Sulkasato. Most of them participate in the courses over and over again – until they are over-aged.
url: http://www.sulkasato.fi/
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Name
Prix
Goncourt
Lycéens
des
Country
France
Timeline
Since 1988
Description
A literacy award for 15-18 year old
young people
Level
National
Name: Prix Goncourt des Lycéens
Location: All France
Summary: The Prix Goncourt des Lycéens is a literacy price. It's the youth version of the Prix Goncourt. The Prix Goncourt is an annual competition, that exists since 1896 and
where a panel of literacy professionals awards a novel published during the year. The Prix Goncourt des Lycéens has been created in 1988 by the FNAC, a private bookshop in
collaboration with the local education authority of the city of Rennes. Every year a panel of 2000 pupils from 56 high schools read and elect their favourite novel.
Target group: The pupils of high schools from 15 to 18 years old.
Brief description of activities: Each year the Goncourt Academy makes a selection of 12 novels. These books are then read and debated in French classes over the course of 2
months and encounters are organised with the authors. At mid-November a panel of regional delegates has a final deliberation. In the end the award is delivered simultaneously with
the Prix Goncourt. The Prix Goncourt des Lycéens does not award any money to its winning author.
Partners involved: The FNAC (a commercial actor) and the local education authority (Rectorat) of Rennes and since 2001 the Ministry of National Education.
Year: Since 1988
Lessons learned: The Prix Goncourt des Lycéens has progressively come to be considered as a real literacy price and is now one of the rendez-vous of the new literacy season.
Results (if any): In 2001, thanks to the results of this initiative, the Ministry of National Education decided to include the Prix in the artistic practices of the pupils. Thanks to the
association “Bruit de Lire”, the action has been extended to 17000 pupils. Thus 216 novels (representing more than 37000 copies) have been read.
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Name
Suresnes Cités Danse
Country
France
Timeline
Since 1993
Description
A contemporary dance festival
Level
Local
Name: Suresnes Cités Danse
Location: Suresnes (Hauts-de-Seine)
Summary: Suresnes Cités Danse is a contemporary dance festival that tries to link choreographers coming from the hip-hop, streed dance or break dance movements as alternative
movements and the more institutionalised contemporary dance.
Context/scenario: The festival was created in 1993 in a context where hip-hop was not recognized as an artistic expression. It aimed to give a chance to choreographers that have
not received a classic or recognized dance education to work and show their work. It also gives a chance to dancers to integrate companies of recognized choreographers.
Target group: Young hip-hop dancers aiming at becoming professionals, choreographers, young public
Brief description of activities: The Festival intends to show practices but also to enhance the encounters between street dancers and choreographers. The festival produces new
dance creations mixing street dance and contemporary dance. Each year representations of dance performances but also of original creations are shown. The festival in general,
runs for 3 weeks in January-February.
Partners involved: Tthe town of Suresnes and the Ministry of Culture
Budget/funding (if available): In 2008, the budget was: 509 300 € (from which 70% was artistic budget)
Year: Annually since 1993
Lessons learned: Through the years, the Festival has been recognized as a strong facilitator for young people to make their capacity and ability known. The high quality of the
selection and creations ensure the companies produced to be programmed at national and international levels.
Results (if any): In 2007, a new pole of production, diffusion and transmission of hip-hop dance called “Cités danse connexions” has been created in the Theatre Jean Vilar. This
kind of initiative is still new in France.
In 2009, the festival included 28 performances, 60 dancers and 8 creations. In 2008, the festival was attended by with 13,000 spectators of which 37% were less than 26 years old.
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Name
Collectif 129h
Country
France
Timeline
Since 2001
Description
An association for urban art and
culture practices
Level
Local
Name: Collectif 129h
Location: Paris
Summary: 129h is an association that supports the development of artistic and cultural practicesderiving from urban cultures. It aims atenhancing music writing and declaiming being
one of the first collectives of French slamers.
Context/scenario: The collective was founded in 2001. They work in particular in urban areas or underprivileged urban districts.
Target group: Slamers, young public
Brief description of activities: 129h has created a studio in order to produce slam artists and their own creations. They organise slam sessions but also training of music writing.
They perform all over France and abroad. They also develop international projects in particular with music associations from African countries.
Year: Created in 2001
url: www.129h.com
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Name
Pass culture
Country
France
Timeline
Since the end of 1990s
Description
Pass Culture Sport-system to young
people aged 15-19
Level
Local/regional
Name: Pass culture
Location: Pays de Loire (5 provinces: La Loire-Atlantique, Le Maine-et-Loire, La Mayenne, La Sarthe, La Vendée).
Summary: The region, in order to promote access of young people to culture, created during the 90s the “Pass Culture Sport" system. This pass is only for young people aged 15 to
19.
The total budget for culture of the region was 30 million euros in 2007. A specific effort has been made for the “Pass culture” since 2004 in order to transfom this consumption tool
into a way to access and practice culture. The first step has been to make the pass availabileto all young people aged 15 to 19 and not only to young people in schools. And secondly
new initiatives have been proposed and carried out such as the “Opérations labéllisées” that foster not only encounters with artists but also involvement in social action.
Context/scenario: 26 % of the population in the region is less than 20 years old. The region, aware of the fact that access to culture is one the major concerns of the citizens, has
tried to develop further its policies related to access. The culture budget17% from 2006 to 2007. Aside from the Pass Culture, the region has also set up other initiatives for young
people such as “Lycéens au cinéma”, “Les jeunes s\exposent” (exhibition of plastic arts creations) or a better knowledge of heritage through projects of in-site restoration by young
volunteers.
Target group: Young people from 15 to 19
Brief description of activities: The Pass Culture Sports costs 8 euros. The Pass allows free entrance to cultural and sport events (such as cinema, festivals, concerts, theatre,
museums, etc.) and special fares to practice a cultural, sports or social activity. It is also possible to use the Pass Class in groups. For groups there arealso facilities for
transportation.
Partners involved: Numerous partnerships (800) with territorial organisations (organisations of “popular education”, sociocultural centres, etc.). A special follow-up committee has
been set up including members of the regional youth council and different partners. The role of the committee is to organise a dialogue on the different orientations of the Pass
Culture Sport. Other partnerships will be considered in the next few years in order to foster the relationsips between schools cultural institutions.
Year: Since the end of the 90s
Lessons learned: As a result of the success of the initiative, for 2008-2015, the region wishes to enlarge the system to include all young people under 25. At the same time, the
Pass has to become an instrument for cultural discovery more than a consumption tool. The region aims to build a qualitative cultural offer to young people.
Results (if any): It is estimated that the Pass Culture Sport can impact around 240,000 young people; 66,000 of whom are recipients of the Pass Culture.
url: http://www.passculturesport.com
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Name
Les Abattoirs
Country
France
Timeline
Since 2002
Description
A local experience
creation and diffusion
to
fostering
Level
Local
Name: Les Abattoirs
Location: Riom (20,000 inhabitants), next to Clermont-Ferrand (15 km)
Summary: Les Abattoirs is a cultural space for multidisciplinary creation and diffusion. It is an industrial site, an old slaughterhouse listed as industrial heritage that has been adapted
for cultural and artistic activities. Les Abattoirs is a collective of very diverse associations (music, plastic arts, video and dance, comics, multimedia, etc.) that aspired to create a
synergy between the artistic spheres of the region.
Context/scenario: Les Abattoirs was born in 2002. As a matter of fact, there was little independent cultural offer in the region, in particular for young people. Two associations,
Inoxbox and Trames, decided to take possession of the place in order to facilitate the emergence of young creators, to foster local artistic development, andconnect with other local
associations in order to create cultural offer in this rural area.
Target group: Local artists and associations, young culture
Brief description of activities: Les Abattoirs propounds a cultural programming. They also produce or co-produce exhibitions, performances, concerts, etc. They are also active in
promoting the work of other cultural associations of the region and have launched artist residences..
Partners involved: The partners of Les Abattoirs are different cultural associations working mostly on youth culture like Le PatateSaucisse Théâter that is a young theatre
compagny, les Egaux Centriques, Magwaman Riddim Section that works on electronic musics, Max en Vrac, Keymi – a graf artist -, 1/G that is a collective working on audiovisual
and electronic music, Irae, a group of metal music and RadioCampus – a student radio-.
The other partners are the institutional ones that fund Les Abattoirs
Year: Since 2002
url: http://www.lesabattoirsriom.com/
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Name
Country
Timeline
Frei williges Soziales Germany
Since 2001
Jahr Kultur (Voluntary
Social Year Culture)
Name: Freiwilliges Soziales Jahr Kultur (Voluntary Social Year Culture), FSJ Kultur
Description
Voluntary placement of young people
in cultural institutions
Level
National
Location: Nationwide
Summary: Young people between 16 and 27 can spend a year on a voluntary placement in cultural institutions, initiatives and projects. Building on the 40-year old tradition of the
Voluntary Social Year, the FSJ Kultur offers young people between 16 and 27 placements in cultural institutions, which can range from libraries over youth clubs and festivals to
theatres. It started out as a pilot project in 2001, offering 125 places in cultural institutions in 5 Länder, and has since been expanded and consolidated, offering around 400 places
across 15 Länder. Young people receive monthly €280 ‘pocket money’, plus a contribution to living costs in return for a 12-month placement in an organisation.
Context/scenario: The main organizing association, the BKJ, chairs the working process among the partners, which include apart from the institutions also funders and supporters,
ensures an accompanying evaluation and assessment, networks and discussion forums, as well as representation at political and public level. Its partners offer the institutions where
the placements are implemented a financial and pedagogical accompaniment and supports quality management. Training, qualification and networking of cultural institutions, as well
as seminars for the participating young people to exchange experiences are also available.
Target group: Young people between 16 and 27. Most participants (80%) are between 18 and 20 years old.
Brief description of activities: Activities vary greatly, depending on the placement. They can include event management, writing funding bids, press and PR work, assisting with
cultural pedagogy, stage management or tech. The young people are accompanied and guided by members of the organisation or institution, During the year, the participating young
people take part in 25 mandatory training and qualification days.
Partners involved: The FSJ Kultur is funded by the BMFSFJ, several Länder ministerial departments, several foundations and the European Social Fund. It is coordinated by the
Bundesvereinigung Kulturelle Jugendbildung (BKJ). Cultural institutions in each Land vary. They are mainly “independent providers” and municipal (youth) cultural institutions; they
include small initiatives such as youth clubs and established institutions, such as concert houses and libraries. They span in principle all arts disciplines and organisational areas, and
can be in big cities or the rural areas.
Year: 2001-present
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Name
Hip
Hop
Hamburg
Academy
Country
Germany
Timeline
Description
Non-profit project to support young
talents on hip hop
Level
Local
Name: Hip Hop Academy Hamburg
Location: Hamburg
Summary: The Academy is the first comprehensive not-for-profit project supporting young talents from the international hip hop community in the city. It works to provide long-term,
continuous, professional offers for the discovery, support and training of future hip hop artists in Hamburg.
Context/scenario: The project is based on the experience that the socially and culturally diverse environment of a big city, here particularly Hamburg East, nurtures the emergence
of young hip hop artists with talent, who are rarely discovered and supported. It wants to provide a systematic means to use the opportunities arising out of the intercultural
community in the city for a positive development of the arts and culture.
Target group: 13 to 19 year olds.
Brief description of activities: Selection takes place through competitions in school, judged by an independent panel of hip hop artists. The free-of-charge training programme
includes a 4-week summer camp with big names and experienced trainers from the scene. They also perform in schools.
Partners involved: It has established a local partner network with ten youth institutions, including schools, youth clubs, youth centres, etc. It is funded by the culture department, two
foundations, and a whole range of private sponsors.
Results (if any): It has received several awares, such as the INVENTIO award of the German Musical Council and the Yamaha Foundation, as well as the Hamburg Urban Culture
Award.
url: http://www.hiphopacademy-hamburg.de/
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Name
Zukunft@BPPhil
Country
Germany
Timeline
Description
Level
Local
Name: Zukunft@BPhil
Location: Berlin Philharmonics
Summary: The education programme aims at engaging young people in the work of the high-profile cultural institution. Projects can include dance and music and they tend to be
linked directly to the programme of the Philharmonics. For example, young people receive instructions in composition techniques and then develop their own pieces that will be
played by the orchestra. Particularly well known was the 2003 dance project choreographed by Royston Maldoom, in which 200 young people danced to the music of the
Philharmonics. This experience was documented in a short film called Rhythm is It. The overall range of activities is very wide, including competitions, school concerts, chances to
visit rehearsals, etc.
Context/scenario: The education programme of the Philharmonics, developed by its director Sir Simon Rattle after UK models, seeks to engage people from all age groups and
backgrounds in music and musical work at the institution. In order to be sustainable, it works mid- to long-term with some schools, cultural and social institutions in Berlin and offers
workshops to trainers. It seeks to develop links on various levels between the Philharmonics and the districts and social groups in Berlin, as well as between generations.
Target group: All age groups; young people from schools are a particular target group.
Partners involved: Schools, cultural and social institutions from the city. The project is generously funded by the Foundation of the Deutsche Bank.
Results (if any): The initiative, due to its well-known initiator and the profile of the institution, as well as the exceptional backing, has had a profound impact on the public perception
of the programme. It is the most comprehensive programme of its kind in Germany.
url: http://www.berliner-philharmoniker.de/education/
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Name
Country
Timeline
Explosive!
Germany
1994 Name: „Explosive!“ Internationl Youth TheatreFestival
Description
International Youth Theatre Festival
Level
National (festival)
Location: Bremen
Summary: Since 1994, the International Youth Theater Festival EXPLOSIVE! has been giving theater-groups from European and Non-European Countries the chance of presenting
their productions to a young and youthful-minded audience.
Groups from the Netherlands, Belgium, Italy, Spain, France, Poland, the United States, and South Africa as well as from various German cities have made their appearance on stage
since then and have been welcomened by an interested and exited audience.
Young and talented amateurs at the performing arts are introduced, who either work with professional direction or have found innovative, self-dependent ways of expression all on
their own. They need not heed the traditions of classical language-, dance-, or musical-theater. Instead, their approach should point to new ways of performing. Productions
developing strategies against social and ethnical discrimination are of special interest, as well as those which envelop the existential questions of adolescence and bring them to
artful expression.
Context/scenario: The Festival is an international platform for the exchange of working methods in youth theatre. It is also a meeting place for an excahnge of young peolpe about
their individual living situations.
Brief description of activities: The festival offers different theatral productions. There is also extensive workshop programme addressed to teachers and theatre managers as well
as young actors.
Target group: Young actors and Youth theatres
Partners involved: Kulturzentrum Schlachthof
Year: Annualy, since 1994
Budget/founding (if avilable): N/A
Results (if any): EXPLOSIVE! has made a name for itself within the international youth theater scene. Youth Theater has, by now, become an international affair. It creates meeting
places, crosses boundaries, and helps to fight prejudices.
url: http://www.explosive-info.de/englisch/festival/festival.html
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Name
Action outside
the base
Country
Greece
Timeline
2009-2011
Description
Access to music for children and
young people
Level
National
nd
Name: 2 Educational Programme 2009-2011 «Δράση εκτός Έδρας» in Greek, which translates into “Action outside the base”
Location: The programme involves visits to Greek cities (apart from the capital of Greece, Athens, and Thessalonica), ) around the country
Summary: A three-year programme organized by the Friends of Music Society that has as its goal the provision of equal chances and opportunities to young people around
Greece as regards music and culture. The programme involves visits to Greek cities and organisation of lectures, public discussions, co-operation with local music schools and
hearings, and providing young music students with the opportunity to compete. The objective is to provide young talented musicians with encouragement and support for their
further (professional) development.
Context/scenario: The programme is meant for music students and teachers all over Greece and its main motto is “equal opportunities for all in life and art”. The first cycle of
the programme included five cities in rural Greece: Lamia, Volos, Rethymnon, Kalamata and Patras. Different cities around Greece were included in the second part of the
programme in order to reach out to as many Greek young music students as possible.
Target group: Young music students and teachers all over Greece
Brief description of activities: Through the organisation of lectures, public discussions and hearings, young music students of less privileged backgrounds will be given the
opportunity to learn as well as to compete for an opportunity to perform in the Athens Concert Hall and to win scholarships for music schools in their hometown, in Athens and later
abroad. All types of music are included; classical music, traditional music, experimental music and jazz. Through the hearings conducted in cities all over Greece, the potential
music students will be recorded and there is a the selection of those students who will compete for the music scholarships..
Partners involved: The programme is carried out with the sponsorship of Mr.Victor S.Restis, a ship-owner.
Year: 3-year programme (2009-2011)
Results (if any): During the first phase of the programme, carried out in November and December 2008, 100 music students participated in hearings that were conducted in the
five cities mentioned above. This was the result of the active co-operation and involvement of music teachers as well as the music schools’ artistic directors. Classical music
concerts were organised in the cities’ public theatres and cultural centres with the support from the local city councils. During the second phase that was completed on March 15,
selected students presented their music works for the selection of the winners of the scholarships. During the third phase, 120 music students who participated in the first two
phases of the programme were invited to the Athens Concert Hall in order to participate in a series of interesting activities, such as a concert by different musicians including the
winners of the scholarships (that will cover their tuition in music schools and the participation in master classes of prominent music professors in Athens), a tour of the Athens
Concert Hall and the Music Library of Greece “Lilian Voudouri” as well as other activities. The impact on local development is significant as the programme addresses young
people from different parts of Greece and not only in the big cities.
url: http:// www.sfm.gr
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Name
Country
Timeline
Nicholas P- Goulandris Greece
Since 1986
Foundation, Museum of
Cycladic Art
Name: Nicholas P. Goulandris Foundation, Museum of Cycladic Art
Description
Level
Local
Location: Athens
Summary/ Context-scenario: The Department of Education Programmes of the Museum of Cycladic Art has been operating since the establishment of the museum in 1986. Its
varied and imaginative activities, as well as its innovative teaching methods continue to attract schools and individual visitors as the department offers a variety of choices for
children and teenagers in elementary and secondary school. These educational programmes aim to bring young people into creative contact with the Cycladic, ancient Greek
and Cypriot culture and turn the museum into a place of learning and entertainment. Apart from the educational programme for schools and individuals, the museum offers other
activities such as lectures and weekly seminars for a period of 3-6 weeks and those focus on archaeology, ancient Greek history and history of art. There is a 50% discount on
the seminar fees for young people aged18-26. Finally, in an effort to support research on Aegean archaeology, the N.P.Goulandris Foundation offers every three years a
scholarship for PhD studies in an established academic institution in Europe or in the United States.
Target group: Schools and individual visitors (children of elementary and secondary education, ie.6 – 14 years old), families, young people aged 18-26
Brief description of activities: Every Saturday, from October to May, the museum operates an education and recreation programme that includes games, theatre, handicrafts,
story-telling etc. As far as the educational programmes for schools are concerned, visits are arranged daily throughout the year. These educational programmes are available in
Greek and there is educational material available for the preparation of the visit on-line on the museum’s website. They comprise of standard programmes pertaining to the
permanent collections of the museum and special programmes pertaining to the temporary exhibitions organized in the museum. Schools from Athens and rural Greece can
arrange visits, and if schools are unable to come to Athens in order to visit the museum, educational material can be sent to them and to the libraries of their area on loan for a
month.
Partners involved: The Museum was founded in 1986 in order to house the private collection of Nicholas and Dolly Goulandris. Since then it has grown in size to accommodate
new acquisitions obtained either through direct purchase or by donation from individuals and institutions. Collections such as the C.Politis Collection, the Athens Academy
Collection and the Commercial Bank Collection have been incorporated into the major thematic units of the museum. In 2002, the Cypriot collector Thanos N.Zintilis donated to
the museum one of the largest collections of Cypriot antiquities in the world. In addition to the support to the Nicholas P.Goulandris Foundation, the museum finances itself and
its educational programmes through the corporate sponsorship as well as individual, family or corporate memberships.
Year: Current, educational programmes have been in operation since 1986.
Lessons learned: The lessons learned are that the private initiative of establishing a museum has done wonders for the cultural life of Athens and the education of children and
young people as far as culture and history are concerned. The impact on local development and youth culture is that young people have become more aware of their historical
background and get to enjoy a lesson of culture and history in an alternative way, which makes it more interesting for them and easier to digest and comprehend.
Results (if any): The result of this educational programme is the enthusiastic response of the schools and the visitors and its success is reflected in attendance figures that
excess 10,000 participants per year.
url: http://www.cycladic.gr
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Name
ARTEMISSZIO
Foundation
Country
Hungary
Timeline
1998-2009
Description
Courses to minority groups
Level
Local/international
Name: ARTEMISSZIO Foundation
Location: Budapest,
Summary: Artemisszio Foundation promotes cultural diversity by encouraging dialogue between culturally, ethnically and socially diversified youth groups. It supports the social
integration of young people from disadvantaged groups and also aim to strengthen international and especially European scientific and cultural relationships. It devotes special
attention to creating equal opportunities to ethically or socially disadvantaged youth - unemployed young people, the rural population, the Roma youth.
Context/scenario: Arteisszio was founded in 1998 to promote intercultural connections and integration of disadvantaged social groups. It joined the youth mobility programmes
of the European Union in 1998. It participated in the Leonardo da Vinci and the EVS programmes both as a sending and host organisation. In cooperation with other institutions,
it offered the chance of voluntary work and professional placement to more than 200 Hungarian and foreign young people. Currently, they coordinate a long term PHARE youth
project through a programme of training, development, accompaniment and financing.
Target group: Young people, disadvantaged youth, ethnical and minority groups f young people, administration bodies, different institutions, media.
Brief description of activities: The foundation organises courses to minority youth groups.. During these courses, young people learn about conflicts in ethnic and cultural groups in
order to recognize, analyse and handle them in the future. The pedagogical work of the foundation includes t training programmes to emphasise the importance of international and
cross-cultural experience, and network-building. "JUSTICE" for instance is a programme of international intercultural pedagogy training aiming at reducing discrimination and
prejudices within the school environment. The cultural activities of the foundation promote social solidarity, tolerance and sensitivity to cultural differences. They are connected to art,
theatre and alternative pedagogy. The foundation carries out scientific research activity on the methodological traditions of cultural anthropology.
Partners involved: Anthropolis Association, Central European University, HAND Organisation, Hungarian Language School, Kava Cultural Workshop, The Maladype Theatre, The
Ethnoregional Research Centre, The National Non-profit Human Services Union, Yellow Zebra Bikes etc. From Austria: Uni-T (Graz), Denmark: Kebenhavns Kommune
(Kebenhavns), France: Association Calliope (Grenoble), Interechange (Paris), Grat Britain: Quality in Diversity Consultancy and Training (Leeds), Italy: Eurocentro (Jesi), Norway;
Karmoy skole-og kulturetat (Karmoy), Spain: CAE (Manresa), Nexes (Barcelona), Sweden: Arvidsjaur Kommun (Arvidsjaur).
Year: 1998-2009
Lessons learned: Artemisszio Foundation represents a very important institution in the areas mentioned above. It has understood and proved that all young people have to be taken
into account, regardless of the group they belong to. They must be understood, helped and promoted through a variety of social and cultural strategies.
Results (if any): The projects of the foundation are diversified andfocused on many levels. The TWISTER project for example reveals the role different forms of theatre can play in
the social integration of the disadvantaged youth. The Culture Body-Body Culture project concentrates on Roma oral traditions within the frames of an international festival.
Additionaly, the foundation organises cultural evenings for the young Hungarian and foreign people. These can serve as forums where participants discuss their ideas, views, make
friends and gain experience. They include evenings displaying Italian and Portuguese youth culture, workshops and stereotypes, volunteering, innovative dramas. The research
domain of the foundation emphasises the co-existence of different youth groups, possibilities of re-integration into the labour market, or urban intercultural connetions. The foundation
works with French researchers in an urban project comparing a district of Budapest and a quarter of Grenoble. The results were seen at the Museum of Ethnography in Budapest in
2005. The Leonardo da Vinci programme promotes apprenticeship for youth, offers the chance to live in another culture. The cultural programmes included here are; alternative sight-
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seeing tours, trips to the country-side, cooking, museums, parties, intercultural events, movies, club nights et. The foundation continues to work with young unemployed people,
especially those who had already accumulated more types of disadvantages. Moreover, in the past few decades, anthropology developed from a pure research of distant and
excluded communities to community development and social change, involving as mediators, community organisers, teachers or animators. The \'Anthropology in Action\' project
seeks to promote the awareness of application of cultural anthropology among students of anthropology in Hungary. Through the European Voluntary Serice - EVS - part of the
YOUTH Programme, the foundation promotes mobility, local activism of young people, youth exchanges, voluntary services, youth initiatives, training of youth workers. Young people
aged between 18 and 25 can take part in it, completing a reciprocal learning process, where everybody can learn something from the other\'s culture. Making contacts is also an
important task of the foundation. Artemisszio had been collaborating with Artus Theatre since 2003, involving new countries too. Every year in August Artus participates in Sziget
Festival which is among the biggest cultural events in Central Europe. In 2004 the foundation presented a new EVS project in collaboration with Sambhala Tibet Center through the
organisation of some series of cultural events. Artemisszio aims at informing Hungarian youth about the programmes of the EU, supporting with the pre-departure preparation of
young beneficiaries of diverse projects run by the Foundation.
url: http://www.artemisszio.hu
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Name
Country
KOLIBRI – Children and Hungary
Youth Theatre
Name: KOLIBRI - Children and Youth Theatre.
Timeline
1992 -
Description
Theatre for
people
children
and
young
Level
Local / national
Location: Budapest
Summary: KOLIBRIt deals with many types of cultural performances for the youth: art plays, entertaiment performaces, musicals, puppet theatre, folk theatre and experimental
plays, solo performances.
Context: Founded by the General Assembly of Budapest in 1992, it is the first children's theatre - family theatre to offer story adaptations. Now it organises training, drama activities,
lectures, courses regarding drama.
Target group: children and young people, from Budapest and the other towns and villages, people working in cultural domains.
Brief description of activities: The theatre organises all kinds of activities where playwrights cooperate with composers, children with adults, actors and audience. It is not only
about a practical side but also about the theoretical perspective of theatres. The students of Dajka Margit Art School also act here. Theatre professionals encounter in the Cilibri
coffee house to talk about children’s theatre. Beside the Hungarian classical and contemporary writers, there are also the European and over-sea children and puppet shows.
Partners: The Ministry of Education and Culture, the Goethe Institute, The Hungarian Theatre Association, Port.hu.
Year: 1992Lessons learned: Children and young people should should have the possibility to see theatre plays according to their age, no matter if they live in towns or country-side, and to
adapt to the society, to get used to culture. Theatre should be seen as a source of joy for children and young people.
Results: the Kolibri Children and Youth Theatre focuses on the presentation of drama activities, at practical and theoretical level, promotes them on urban and rural level, prepares
the appropriate professionals for the successful training of the young generation, approaches the tie between theatre and lecture, play and reading books, follows the aesthetical
development in children\'s education. Url: http://www.kolibriszinhaz.hu.
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Name
Country
Timeline
MEDIAWAVE
Hungary
1994 Name: MEDIAWAVE - International Visual Art Foundation.
Description
Festival for young talents
Level
National
Summary: The event functions as a meeting point between Western and Eastern cultures. Mediawawe is an international film and music festival for and from artists, whose individual
way of creation is independent of fashion streams; for who technique is the means not the purpose; who attempt to create an individual film code set - whether they live in a minority
group or in a less exposed part of the world..
Context: The Mediawave Festival is the largest event of the Foundation, well-known in Hungary and abroad. Its first name was the International Film and Video Art Festival,
addresse to amateur productions The name was later changed to the International Visual Art Foundation or Mediawave "Another Connection."
Target group: young people, film producers and art critics, cultural managers, administration bodies.
Brief description of activities: During the first years the main fields of action were concerts, jazz, street art, and literature. In 2002, the event focused on improvisations, jazz, ethno
music, and underground culture, and in 2003 on contemporary dance and theatre. In 2004 several music workshops and photo performances were organised; and in 2005, to
th
celebrate the 15 anniversary of the foundation 15 selected films were presented in 5 DVDs. In 2006 the main focus was on land art, new circus, street music, and international film
workshops. The film contest counted with an international board for awarding plays, animations, experimental performances, and documentaries. The young audience could watch
the most well-known films of famous film producers. In 2009 Mediawave Festival was organised in Mosonmagyarovar, another locality in Hungary, at the Flesch Karoly Cultural
Centre with a large selection of films, concerts, photo exhibitions, rock workshops, and series on environment protection in cooperation with the Reflex Environment Protection
Association and the Organisation of Hungarian Protection of Nature and Climate Alliance.
Partners: TRAFO House of Contemporary Arts, Filkultura, Kultissimo, erikanet.hu, OrientPress, Alter-Native (International Short Film Festival), Town on-line Media, Grand Cafe,
Lapszemle.hu.
Year: 1994Lessons learned :With its respect for both traditional and comtemporary culture, the festival has proved to be a lively cultural event for young generations as it has also gained more
importance and visibility.
Results: Mediawave is an international competition of short (feature, animation, experimental), documentary and non-standard films. Young talents and musicians. Distinctive genres
of activity: film, music, workshops, camps, choirs and art productions, media archive, mediawave WebTv (television offers programmes from the archive films for the knowledge of
youth). With the support of the Gyori Archive it organises scientific conferences; the conference presentations are later published in a volume, then on the web. Conference themes;
the Roma people, the Art of Sin, the XXIst Century - Game over, The Golden Calf.
Url: http://www.mediawave.hu.
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Name
Country
Timeline
“Miracle”
Flaudi Hungary
Since 1996
international
Name: “Miracle” Flaudi International Film Festival and Photo Competition
Description
Film festival for young people
Level
National / international (festival)
Location: Budapest
Summary: The International Film Festival of the Ferenc Faludi Academy has existed since 1996. The festival is thematic and focuses on a particular topic each year. The
competitors are invited to work the topics in the form of film or photography The festival is looking for elaborated works which are suitable for creating a forum, in the language of
pictures, for the dialogue of different viewpoints and opinions.
Brief description of activities: The film contest includes categories of short film, experimental (including animation) and documentary. As regards the photo contest, the the
applications are expected to come from oyoung non-professional and university student photographers or creative communities.The films are evaluated bya s professional jury. The
works selected by the pre-jury for competition are presented at open screenings in the presence of the creators the audience and the jury. The jury give prizes (I., II., III.) in three
categories: short feature film, experimental film and documentary and it has special prizes as well. The jury remunerates the works of the film university students in a separate
category. The best of the photos on the decision of the pre-jury is exhibited in the Uránia National Film Theatre. The exhibited pictures are evaluated on an open forum. The prizes
are handed over at the prize-giving ceremony of the film festival.
Target group: Young film makers or directors and photographers
Partners involved: The Ference Flaudi Academy, other film organisations
Year: Annually
url: http://www.faludiakademia.hu
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Name
Country
TRAFO
House
of Hungary
Contemporary Arts
Name: TRAFO House of Contemporary Arts.
Timeline
1998-
Description
Connecting young
contemporary art
people
with
Level
Local / national
Location: Budapest
Summary: A particular objective of Trafó, given the serious lack of contemporary arts training in Hungary, is the creation of new educational opportunities. Training programs are
developed via an ongoing collaboration with the Workshop Foundation. Through these programs the organisation targes the widest public as well as professional circles (artists, art
school students, journalists, etc.). The training groups are divided into two large categories by theory and practice.
Context: TRAFO began its activity with introduction performances for secondary school pupils to help them acquire an appreciation of contemporary art at a young age. It performs
its activity in an industrial building. There is a tradition back in Western Europe to erect artistic and cultural locations in empty industrial buildings. TRAFO opened its doors in 1998 as
the first of this kind in Hungary. The initial building used to be the electrical transformer station for south Pest, built in 1909 as a work in the industrial turn-of-the-century style.
Target group: artists, art school students, journalists, young audience.
Brief description of activities: In order to reveal the essence of contemporary art, the members of TRAFO believe in the creation of challenging occasions to emphasise it. The
acquisition of learning in practice beyond the conceptual level is important. Young students can speak with the artists; view a performance to get an idea of how a piece of art comes
to be. The programmes include an aesthetic variety of genres, differing dance languages; they demand quality to go beyond the language of classical culture, the use the space and
assets in a refreshing way. The location for performing the cultural programmes is the Performing Hall.
Partners: The Ministry of Education and Culture, The National Cultural Fund, Culture 2000, Budapest Portal, The French Cultural Centre, The British Council Hungary, LOW Dutch Flamand Kultfest Budapest 2008, ING Bank, www.artnet.hu, www.tancelet.hu, www.szinhaz.hu, www.unitmagazin.hu, www.kultura.hu, radiocafe 98.6, The Hungarian Orange, Life
and Literature, Edu Cafe, Kultissimo, antropos.hu (cultural on-line magazine).
Year: 1998Lessons learned: Culture can be taught in non-conventional places too. It depends on the originality and creativity of the professionals to make it appear more challenging and
exciting. The mission of TRAFO is to prove that, to provide opportunities for the discovery of young artists and the displaying of their work. Results: TRAFO provides space for
programmes like "Inspiration," "Poles," "Short Evening Pieces." On a monthly basis, there are 1-2 concerts every month, festivals, special programme series such as the
contemporary music festival called Making New Waves. There are also unspecified genres and interdisciplinary events, films, multimedia programmes, current trends in youth
contemporary culture. In 2005 TRAFO and the MU Theatre put together an award, Rudolf Laban Award, for the popularization and recognition of the best creators and creations in
youth dance today.
url: http://www.trafo.hu/
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Name
Young Irish Film Makers
Country
Ireland
Timeline
Since 1991
Description
A digital film company for young
people
Level
Local
Name: Young Irish Film Makers
Location: Kilkenny City
Summary: Young Irish Film Makers (YIFM) is a digital film company for young people.
Context/scenario: Young people receive training to make feature films for television through the process of actually making films. YIFM is committed to producing feature films made
by young people for young people. They bridge the barriers between youth activity and professional activity.
Target group: Young people aged 8 to 18 years.
Brief description of activities: Established by Mike Kelly in 1991, Young Irish Film Makers is an innovative Irish Film Training and Production Studio where young people, aged 10 18 years, have the opportunity to create and communicate their ideas and stories by making feature films for international television and the internet.
Partners involved: Arts Council, Kilkenny County Council, FAS, Office of the Minister for Children and Youth Affairs
Budget/funding(if available) : N/A
Year: 1991 - present
Lessons learned: YIFM was set up with a lot of vision and very little resources in 1991. In Ireland today there are much more resource available and more available sources of
funding. Future innovative projects such as this need to be encouraged.
Results: Many of the young people who have taken part in Young Irish Film Maker projects over the years have gone on to study film at third level.
url: www.yifm.com
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Name
Irish Museum of Modern
Art
Country
Ireland
Timeline
Description
Programme on
community work
education
and
Level
Local / national
Name: Irish Museum of Modern Art (IMMA), located in Dublin, offer an extensive programme of education and community work
Location: Dublin
Target group: 15- 18 years olds
Brief description of activities: Studio 8 is a space at IMMA dedicated to young people, aged 15-18 years old. It is a space where young people can think about, discuss and make
art work, all in their own time. Each Saturday, a different aspect of IMMA’s exhibitions and programmes is experienced and discussed. This allows an opportunity for dialogue and
response which can be used creatively within the studio space. It is a space for young people to meet new people with similar interests, a space to relax and enjoy some time for
themselves. It is an opportunity to see what IMMA does, to discuss ideas and to create pieces of art work in an open, friendly environment.S tudio 8 is facilitated by artists and
mediators (IMMA’s gallery staff). It is free of charge and basic art materials are provided. No booking is required and there is no need to attend every week. The activities include a
gallery visit, guided tours, heritage tours, talks & lectures and a public space.
Partners involved: All projects and programmes are created in association with partners at both national and local level i.e. the Primary School Programme with teachers and the
Department of Education and Science. These partnerships provide opportunities to develop capacity-building initiatives and to develop new audiences.
Results (if any): The Education and Community Programme aims to foster within society an increased awareness and understanding of the visual arts by creating innovative and
inclusive opportunities for people to engage with the Museum’s exhibitions and programmes, both as audience members and participants. It also seeks to create opportunities for
meaningful exchanges between artists and the public. The Museum’s Education and Community Programme is informed by models of practice which are designed to meet the needs
of specific groups and to address targeted education needs. These models are documented and evaluated and their outcomes inform a boarder programme which can provide
access to a wide range of people.
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Name
Country
Irish Youth & Media Ireland
Development
Name: Irish Youth & Media Development
Timeline
Since 2008
Description
Young people and media
Level
National
Location: Ireland
Summary: The Irish Youth Media Development is an organisation concerned with the impact of the mass media on the creation of contemporary culture. IYMD aims to help young
people develop an informed and critical understanding of the nature of the mass media: the techniques used by the media industry, and the impact of these techniques on the image
of youth in society. IYMD also aims to provide students with the ability to create their own media products and to use them in the development of relations across borders, as a tool
for global citizenship and a means to work for justice and peace.
Context/scenario:
Main goals are:
•
To promote awareness among Irish youth of development and multicultural issues as projected by the media in Ireland and internationally
•
To encourage linking of Irish youth media projects with similar projects in the developing world, in schools, colleges, youth groups and related forum
•
To provide assistance to youth / media practitioners in the developing world- through skills transfer programmes.
•
To encourage third level educational institutions in Ireland to provide access to students in the developing world on media courses, with special emphasis on media for
youth
Brief description of activities: IYMD organizes conferences on different media issues: for example the Youth media Conference in Dublin fin April 2008. The Youth media
Conference was the first academic and media professionals’ conference held in Ireland in which young people had an active and integral part to play. Another exampls is the Youth
th
Media and Democracy Conference and the 5 World Summit on Media for Children.
The aim is to hold an international youth media conference in Ireland focussing on media potential for global citizenship and development education.
To set up an Irish youth IP channel on the lines of the Al Gore project to encourage creativity, develop media skills and encourage concepts of global citizenship among Irish youth.
To develop other projects, including research, training, conference organising in all areas of media development both in Ireland and in developing countries and to undertake other
media related projects as the company directors see fit.
Target Group: Young people
Partners involved: The European Union programme “Youth in Action”, University of Ulster, Dublin Institute of Technology, International Digital Enterprise area “The Digital Hub”
Year: Since 2008
url: http://www.irishyouthmedia.ie/default.aspx?pid=614
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Name
Country
Independent
Youth Ireland
Theatre
Name: Independent Youth Theatre
Timeline
Since 1994
Description
Theatre for young people
Level
Local
Location: Dublin
Summary: Independent youth theatre (IYT) is a Dublin based youth theatre of young people between the ages of 14 and 22 with even the slightest flair for the performing arts. The
aim is to foster the insurmountable talent that is becoming more and more visible in young Irish performers. They also aim to produce a number of high-quality productions each year
in which members can become familiar with every aspect of putting on a show.
Brief description of activities: The main activities is to produce theatre productions, organize tours around the country and participate in Theatre Festivals; the National Theatre UK
Connections Festival, the Dublin Fringe Festival, NAYD Festival of Youth Theatres in Limerick.
IYT also organizes dance and singing classes, speech and musical training, creative drama classes.
Target group: Young people, between 14 and 22 years
Partners involved: National Association of Youth Drama
Year: Since 1994
url: http://www.independent-theatre-workshop.com/youth.htm
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Name
OperaFutura
Name: Operafutura
Country
Italy
Timeline
2008-2010
Description
Opera and experimental theatre
Level
Local / regional
Location: Emilia-Romagna.
Summary: Operafutura aims at creating a link between opera and experimental-theatre. The initiative is promoted by 4 opera theatres in Emilia-Romagna (Bologna, Ferrara,
Modena, Reggio Emilia) and is based on the adoption of performing practices, which are non conventional and characteristic of experimental theatre, with the objective of creating 3
original operas.
Context/scenario: Opera is the exact antithesis of the musical taste of young Italians: a recent study shows that 66,4% of them dislike it, 13,6% are quite indifferent about it while
86
only 5,5 % of them seems to appreciate it (mainly young people with very high socio-cultural backgrounds) . For a country like Italy, this fracture between opera – which is a
traditional Italian form of art – and young people is a serious indicator of a cultural disaster. Operafutura is an attempt of realising opera in an unconventional way; trying to involve
young artists, musicians and producers, in order to intercept young people tastes and languages.
Target group: young artists and musicians; general public.
Brief description of activities: The project consisted in realising opera performances conceived by experimental theatres but produced by and performed in opera theatres. The
selected productions that will be performed from 2008 until 2010 in the 4 above mentioned theatres and are: Fidelio Off ovvero Quaderni del carcere, North/South, Orfeo.
Rappresentazione per voci, corpi e ombre.
Partners involved: Emilia-Romagna Region.
Budget/funding (if available):
Year: 2008-2010
Lessons learned: As this is an ongoing project, evaluation is not yet available
Results (if any): As this is an ongoing project, evaluation is not yet available
87
url: http://www.regione.emilia-romagna.it/wcm/ERMES/notizie/news/2008/dic/operafutura.htm .
86
87
G. Montecchi, “Il progetto Operafutura” in Economia della Cultura 1/2008, pp. 119-127.
See also Ibid.
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Name
Officine dell’arte
Country
Italy
Timeline
2006 -
Description
An initiative to foster possibilities for
young creative professionals
Level
Local / regional
Name: Officine dell’arte.
Location: Lazio.
Summary: The aim of the project is to foster young creativity in order to create new working opportunities within the Region. The project consists in the realisation of centres
(Officine) for artistic production and cultural promotion.
Context/scenario: Cultural production is one of the means through which young people participate in civil and social life, at the same time as expressing their own vision of the
world. Fostering young artists means fostering social juvenile networks and giving them new opportunities in order to strengthen processes of social inclusion and participation.
Furthermore, creativity can become also a way to enter the labour market, but only if the institutions provide young people with adequate infrastructures and services.
Target group: young people living in the Lazio region (art producers).
Brief description of activities: After a public announcement, a certain number of projects are selected in order to be carried out in each province of the region (Rome excluded).
The Region itself defined the steps that each project will have to go through in order to achieve its objectives. The organisational model follows the network one: each network “knot”
has to link itself and co-operate with the others. These knots are: the Officine themselves; other national and international creative factories; Provinces; cultural institutions and
organisations; project partners (to be chosen by BIC Lazio, a joint stock (PLC) corporation, part of a network of regional development offices.
Partners involved: Assessorato al Lavoro, alle Pari Opportunità ed alle Politiche Giovanili, Lazio Region; Provinces of Frosinone, Latina, Rieti and Viterbo; Università La Sapienza of
Rome; BIC Lazio. Lazio Region developed the project in co-operation with the action Pontos de Cultura, which is part of the programme Cultura Viva realised by the Brazilian Ministry
88
of Culture .
Budget/funding (if available): in the period 2008-2009 Lazio Region invested 2 millions Euros in order to support 12 Officine.
Year: from 2006
Lessons learned: The results of the first 2 years demonstrate that also a peripheral territory such as the one of the Lazio Provinces - which are traditionally considered as
“satellites” of Rome – can become a fertile place for cultural activities and innovative experiences if local institutions are able to create favourable pre-requisites and starting
conditions.
Results (if any): During the period 2006-2007, the Officine carried out 477 performances with more than 100.000 spectators; 600 cultural operators and artists have been involved in
the delivery of 54 workshops and 45 seminars with more then 4.500 participants.
url: http://www.attivagiovani.it/index.php?option=com_content&task=blogcategory&id=26&Itemid=154
88
<http://www.cultura.gov.br/programas_e_acoes/cultura_viva/programa_cultura_viva/pontos_de_cultura/>
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Name
Country
Ensimi-spazi urbani per Italy
talenti pubblici
Name: Enzimi-spazi urbani per talenti pubblici
Timeline
1996 -
Description
Festival of new trends
Level
Local (festival)
Location: Rome
89
Summary: Enzimi, a festival for presenting new trends in the performing arts sector, has been conceived by the Zone Attive in 1996 and is supported by the Municipality of Rome. It
is one of the first Italian events aimed at promoting new enterprises in the field of culture and performing arts, providing young people with spaces where they can present their artistic
creations.
Context/scenario: In the last 15 years, the municipality of Rome has chosen culture as one of the main strategic priorities for the city’s development: Enzimi fits exactly in this
scenario, which considers contemporary art production as an important driver of cultural and social development, and able to involve young people in the city’s cultural life.
Target group: young artists/cultural managers
Brief description of activities: Enzimi includes on music, theatre and dance performances as well as writing and art sessions and meetings. All activities are free and take place in
different parts of the city, in order to involve not only its historic central area but also peripheral districts with the perspect of widening cultural access. Furthermore, Enzimi has also
become a brand of CD, DVD and merchandising.
Partners involved: Municipality of Rome, Zone Attive
Year: since 1996
Lessons learned: Enzimi has turned Rome into a privileged stage for thousands of artists: the festival’s different editions take place alternatively in the city centre and in peripheral
areas, as well as outside Rome, showing that the participation of young people in cultural life can be fostered and improved also in areas not traditionally exposed to cultural events.
Results (if any): Until now the festival has had 1 million visitors and more than 7 million visits on its web-site. The last edition counted with the participation of more than 400 artists
and 260 hours of performances (10% of them originally created for the festival and with its financial support).
url: http://www.zoneattive.it/
89
Zone Attive is a company established in 1999 on the initiative of the Municipality of Rome and of its company Palaexpo to produce entertainment and contemporary art events
(<http://english.zoneattive.it/canale.asp?id=21>).
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Name
Arrevuoto Scampia
Country
Italy
Timeline
2006-2009
Description
Integration of young people through
theatre
Level
Local
Name: Arrevuoto Scampia.
Location: Naples.
Summary: The project started in 2005; it is addressed to teen-agers, particularly to young people coming from different social and cultural backgrounds. The project, carried out by
the Mercadante Teatro Stabile of Naples, aims at fostering the participation of young people in theatre activities; to promote knowledge and mutual exchanges among people with
different backgrounds; to provide them with training opportunities within the cultural field; and to open up a permanent theatre (the Auditorium) in a very disadvantaged area such as
Scampia.
Context/scenario: The project takes place in one of the most “difficult” areas of Naples, Scampia, which became sadly famous after the publication of the book “Gomorra”: it is an
area with a high rate of unemployment, immigration (especially Roma people), crime, and social exclusion.
Target group: young people between 10 and 20, coming from different social contexts (the city centre and the marginalised neighbourhood of Scampia) and cultural ones (some of
them are drop-out kids; others are Roma).
Brief description of activities: The Mercadante Theatre wanted to achieve a social impact through a cultural project, first of all by opening on a permanent basis the Auditorium of
Scampia (which was built 15 years ago and almost immediately abandoned) and at the same time providing young people with a training opportunity, in order to acquire specific
competences to be used in the performing arts sector.
The project developed itself in 3 phases:
•
During the first year (2005-2006), a group of 70 students coming from different schools of Naples and of Scampia, as well as Roma and drop-out kids, worked together
in order to prepare a performance (Pace by Aristophanes) to be represented at the Scampia theatre, at the Mercadante and also in other theatres outside Naples. The method used
was that of the so-called “non scuola” (no school), which was developed by the Teatro delle Albe of Ravenna and is based on the use of pedagogy combined with experimental
90
theatre .
•
The following 2 years (2006-2007 and 2007-2008) were dedicated to strengthen up the use of the non-scuola method and to produce other 2 performances (Ubu sotto
tiro by Jarry and L’immaginario malato by Moliére).
•
The forth year of the project (2008-2009) was characterized by a greater number of participants (250 kids took part in it) and by a different objective: they would not perform
a single performance but a review of 5 different performances.
Partners involved: The project has been managed and realised by the Mercadante Teatro Stabile of Naples, which contributed also from a financial point of view to its realisation, in
co-operation with the Teatro delle Albe of Ravenna. The project has been funded every year by different institutional subjects, such as the Campania Festival Foundation, the
Campania Region, the Assessorato alla Cultura of the Municipality of Naples, the Assessorato alle Politiche Scolastiche e Formative of the Province of Naples. The district VIII of
Scampia contributed to the project by letting the Mercadante use the Scampia Auditorium.
Year: 2006-2009.
Lessons learned: Arrevuoto Scampia is a network project realised by political, cultural and social institutions and organisations, which involved also many sectors of the civil society.
90
<http://www.teatrodellealbe.com/ita/nonalbe.asp>
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The meeting between different groups of young people through the theatre became a very efficient tool of socialization, participation and of social inclusion.
Results (if any): the project has grown in size during the years, involving more kids (from 70 to 250) and more schools. The Auditorium of Scampia has been re-opened and it is
currently working on a semi-permanent basis.
Furthermore, in 2008 Arrevuoto Scampia has given birth to another project, called Punta Corsara: this project – managed by the Campania Festival Foundation – has a twofold aim.
The first one is to turn the Auditorium of Scampia in a permanent training and production centre; the second one is to create a cooperative formed by 20 kids (selected within the
participants to the Arrevuoto Scampia project) which could autonomously manage the Auditorium. During the year 2008-2009 Punta Corsara will be brought also to other
municipalities of the Province of Naples, where juvenile culture is particularly under-represented and where the level of cultural participation among young people is very low.
url: http://www.teatrostabilenapoli.it/
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Name
Country
Timeline
Description
The
International Italy
1999 Festival for young musicians
Festival of European
Youth Orchestras
Name: The International Festival of European Youth Orchestras/ “Festival Internazionale di Orchestre Giovanili Europee”
Level: International
Level
National / international
Location: Florence, Italy
Summary: The International Festival of European Youth Orchestras started in 1999 thanks to the EU grant Kaleidoscope ‘99 and to the longstanding relationship between
Accademia San Felice the Town Hall of Florence, the Regione Toscana, the Province of Florence, the European Commission, and many other Municipalities in Tuscany, Umbria and
Marche.
The aim of the Festival is to offer young European musicians a unique experience in Italy, with the chance to play in magnificent venues and to participate in an intense experience
and full immersion of classical and contemporary music.
Brief description of activities: The Festival is open to all international youth chamber and symphony orchestras, that are free to choose their own programmes ranging from
baroque to contemporary music. Eligibility for the Festival is assigned according to concert programme and musical level, but high standard youth groups are generally able to
participate. During the Festival each orchestra performs three or four concerts. The first of these is held in the main festival venue in Florence, church-concert hall Chiesa di Santo
Stefano al Ponte and the others in some of the most beautiful venues in towns such as: Lucca, Arezzo, Siena, Viareggio, Montecatini Terme, San Gimignano, Massa Marittima, Pisa,
Padova, Montepulciano, Modena, Brescia, Perugia, Padova, Cortona, Spoleto, etc.
Concert with soloists: An important aspect of the Festival is the opportunity for the symphony orchestras to play alongside well known professional soloists both from Italy and
elsewhere in Europe. This gives young musicians a marvellous opportunity to receive professional advice, learn new concepts of interpretation and benefit from playing together with
and listening to top professionals of their musical field, giving an all-round experience that will be extremely useful in their future careers and musical development.
Supporting new works: In the past Accademia San Felice and certain orchestras participating in the festivals have commissioned International young composers of contemporary
music to write new works which are then presented as world premiers as part of the Festival. This is an initiative they are keen to develop and encourage, since it offers a marvellous
opportunity for the young musicians to work, study and experience contemporary music in close contact with the composers.
Target group: Young musicians and youth orchestras from all Europe
Partners involved: Accademia San Felice the Town Hall of Florence, the Regione Toscana, the Province of Florence, the European Commission, and many other Municipalities in
Tuscany, Umbria and Marche.
Year: Started in 1999, annual
Results (if any): The festival obtained good results as regards the participation of young people. Also the festival hosts around 1.300 young musicians from the 15-20 participating
youth orchestras, and the audience numbers range from 300 to 700 people for each concert.
url: http://www.florenceyouthfestival.com
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Name
The Green Order House
of Fairy-Tales “Undine”
Country
Latvia
Timeline
Since 1997
Description
Civil society initiative
Level
Local / national
Name: The Green Order House of Fairy-Tales “Undine”
Location: "Undine house" in Park street 1, Dubulti, Jurmala, Latvia.
Summary: “Undine” is a civil society initiative - space were different culture related initiatives are carried out by young people and for young people. It is a culture education institution
that provides space not only for its own programmes and objectives, but ifor other youth organisations as well.
Context/scenario: The aim of "Undine" is to preserve and adapt fairytales, ethical values, national customs, healthy ways of life, respect of life, and fair and creative work for the
country and its people.
The tasks of Undine are:
•
To create an open, active environment for creative and useful work.
•
To do social work and protect and renovate the environment.
•
To promote creative social activities, daring and fair attitudes towards the state and the society. To think, speak and work according to national customs and general ethical
values.
•
To do all possible things to help socially unprotected people to participate in social life.
In existence since 1997; the work of “Undine” is supported by European funds.
Brief description of activities: Within “Undine” different culture related activities are carried out. These include different workshops and educational programmes, concerts and
exhibitions. The activities are addictive substance free and free of charge.
url.: www.undine.lv
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Name
Youth information portal
jaunatneslietas.lv
Country
Latvia
Timeline
Since 2007
Description
Portal run by the Ministry for Children
and Family Affairs
Level
Portal
Name: Youth information portal jaunatneslietas.lv
Location: online portal www.jaunatneslietas.lv
Summary: The portal contains updated information on current events in youth policy, youth policy matters, different projects, youth organisations, opinion forum and
recommendations for youth policy implementation, and also a data base of youth affairs coordinators. The portal provides a possibility for feedback between the portal users and the
Ministry for Children and Family Affairs. By October 2008, the portal had had 227218 hits and an average of 500 tto 600 people visit the site daily.
Portal www.jaunatneslietas.lv serves young people as a tool kit with a wide range information available regarding youth policy, together with information and links for young people to
access necessary and interested information such as employment, education, participation, culture, sport, etc. The portal also contains a data base pf youth organisations with
communication channels and different innovations for ensuring an easy usage; currently there are 71 registered youth organisations.
One of the main innovations and achievements is the creation of an interactive local youth policy map within the portalwww.jaunatneslietas.lv ed, where anybpdy can find youth
initiative centres, local youth affair coordinators, child and youth centres and leisure time centres in Latvia. Especially successful is the convenient operational menu mechanism
through which one can find the closest leisure time possibilities as well as youth affairs coordinators, and directly contact them.
Context/scenario: The portal was set up in order to resolve different problems including the following :
The available information for young people is fragmented and not accessible;
According to the results of a survey young people lack information, and the information available is dispersed.
There was a need to establish a unified information system to provide young people with quality, comprehensive, holistic, and relevant information service that answers to their needs
and supports young people's initiatives and provides them with the necessary tools.
When developing the portal, information from existing facilities - local information centres, educational institutions and library resources - was used, and new ways and places were
introduced for the young people to have a possibility to find information about educational opportunities, health issues, the integration of the labour market-related issues, on
opportunities to spend leisure time, opportunities for participation of civil society, on voluntary work for sports activities, social and other related issues .
Target group: Young people
Partners involved: Youth organisations, state institutions and online media.
Year: 2007
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Name
th
The 9 Latvian School
Youth Song and Dance
Celebration
Country
Latvia
Timeline
Since 1960
Description
A national tradition with roots in 1873
Level
National
th
Name: The 9 Latvian School Youth Song and Dance Celebration
Location: All regions, final event in Riga
Summary: 93 000 children and young people (aged 6-24) from all over Latvia showed their artistic skills in pre-celebration auditions, during which 35 000 singers, dancers,
musicians, craftsmen, and young actors were chosen to participate in the main event in Riga on 27 June – 3 July, 2005;Latvian School Youth Song and Dance Celebration.
Context/scenario:The Song and Dance Celebration was organised for the first time in 1873 and since 1960 the School Youth Song and Dance Celebration is being organized within
the National Song and Dance Celebration.
Target group: School and University youth.
Brief description of activities: During time of main event all the participants from all over Latvia gather in RigaThere are many different concerts, shows, fairs, parades and a main
closing concert as the culmination of the event.
Partners involved: Main organizers are the Ministry of Education and Science,- the event is led by cross-sectoral organising committee. The Event involves a wide range of private
sector supporters.
Year: 2005, next School Youth Song and Dance Celebration is scheduled in 2010.
url: www.nacgavilet.lv
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Name
Country
Pravda 1 Minute Festival Lithuania
Name: Pravda 1 Minute Festival
Timeline
2009
Description
Film festival for young people
Level
Festival
Location: Vilnius, Lithuania
Summary: It can be argued that the “1 Minute Festival” has become an institution among the younger audiences in Vilnius. Launched in 2004 by the creative team behind the free
monthly magazine Pravda (the chief editor Kristupas Sabolius), the event has attracted a big number of participants and audiences. The festival organisers present their event in the
following way “The idea of “Pravda One Minute” is very simple: the shortest films ever made lasting 60 seconds or less, are to take part in the festival. The event is extremely
democratic, therefore no age, gender, nationality or professional standard limitations are going to be applied. The filmmakers’ fantasies are not restricted by any special technological
requirements either: a film can even be shot with a mobile phone. This festival calls for an innovative idea, alternative opinion, modern, fast images and trends, denies stereotypes
and is about to be the coolest short film festival in Lithuania” (My Space, 2008)
The festival calls for submissions of films which are no longer than one minute. The films are screened in the major cinema theatres and an appointed jury elects the winners. In 2009
there were only two categories for the competition: mobile phone films and the others.
The festival is a distinct contribution to the otherwise quite saturated landscape of festivals in the capital. Unlike most of other cultural events, it capitalises on the already existing
popular uses of contemporary technology, film media. By setting no threshold of technical quality, the festival espouses a truly democratic take on creativity. Furthermore, as the
organisers themselves have noted, their success has lead them to organise a number fo workshops where film enthusiasts can develop their own skills.
The festival exchanges its programme with a number of foreign partners, such as One Minute Film & Video Festival Aarau, the One Minutes in Ghent, and others.
Finally, the festival can be evaluated as a success in engaging with the audiences in a particularly creative and stimulating way. Inviting young people to use creatively and
innovatively the film medium and by organising the public shows the films, the festival stimulates interest in the possibilities of the film, to think about cinema beyond Hollywood but
also beyond cinema as a professional industry. Large submissions demonstrate that there exists a large creative potential among Lithuanian people, something which is not enough
reflected in the existing policy documents. The current policy documents do try and address the role of new technologies in the shaping of cultural experiences. However, the
envisioned arts projects still deal with the traditional media.
Target group: Young and creative people from all Lithuania. The participating audiences are of 16-25 years of age. Spectator audiences are of 14-30 years of age.
Partners involved: Secondary schools, higher education student unions, art schools, creative associations/creative circles of school and university students and amateurs.
Partners: Dailies (e.g. a free daily 15min), youth radio stations (Zip FM), the online news portals (delfi.lt, ve.lt), various financial sponsors (NOKIA Lithuania, shops "Instinktas" and
"Contemporary Art Centre shop") and cinema theatres (Forum Cinemas, Cinamon, etc). During previous years we tried to attract more partners connected to cinema (SONY, Apple
and similar)
Budget/funding (if available): The support from the State Fund for the Support of Culture 10,000 Lita
Private sponsors ~78,000 Lita
All budget ~ 124,000 Lita
Year: 2009
Lessons learned: The key lesson is that it is very important to communicate directly with the participants. The organisers understood that continuous communication with the
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participants results in high motivation. Therefore they try and especially actively participate in the already existing communities of cinema creators (e.g. kinomanai.lt). They also
create their own groups as for example, Facebook group which has attracted a big attention and became a great communication channel for the festival news.
Furthermore, the organisers realised that the festival should develop cinema creators and inspire people to create. In connection with this they launched such activities as creative
workshops, a screenplay competition and etc. They seek to help the newcomers to cinema and amateurs to turn their ideas into a 1 minute film.
Results (if any): In 2009, the festival has attracted a record number of participants because it received 475 films. Also, in 2009 there was a strongengagement of professionals
(advertising agencies, production houses, televisions).
The festival has attracted a big press attention. All main online news portals, main dailies and TV programmes actively reported about the festival.
Also the famous cinema creators/critics/actors were involved in the activity of the festival. They offerred their advices in the articles about how to create a good film, they also were
present in the jury, conducted creative workshops and so on.
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Name
Luxembourg Youth Club
Country
Luxembourg
Timeline
1997-1999 (project)
Description
Cooperation project
Level
Local / international
Name: Luxembourg Youth Club
Summary: A Luxembourg youth club mainly used by immigrants produced a multi-cultural show on racism in co-operation with organisations from four other European cities
(Maastricht, Sheffield, Berlin and Budapest). The show offered its audiences from different communities a slice of real life in each of the partner countries. This pioneering experience
showed that the fight against racism should not deny differences but rather accept them, and find means of understanding.
The Differdange youth club in Luxembourg offered young people living in the town and its outskirts a place to meet, to find out information and to take part in activities. The users
were young excluded or immigrant people. The activities provided range from sport to cultural activities, including debates, meetings and other activities dealing with social issues.
Under the banner New MAPP (Multinational Antiracist Performance Project), the club teamed up with youth clubs in Berlin, Maastricht, Sheffield and Budapest to produce a multicultural show on the theme of racism and intolerance. The project run for three years (1997-1999), and the idea behind the show was to invite the audience to experience life in each
partner city. In this way, they were faced with the attitudes and opinions of young people living in very different contexts. The first stage of the project took place in Luxembourg, then
in 1998, Berlin and Sheffield, followed in 1999 by Budapest and Maastricht.
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Name
Les
moyens
d’expression des jeunes
Country
Luxembourg
Timeline
2004-2006
Description
Promotion
of
creativity
young
people’s
Level
Local / national
Name: Les moyens d’expression des jeunes (Young People’s Means of Expression)
Location: Service national de la jeunesse (SNJ), Luxembourg
Summary: Promoting creativity projects through providing human and technical resources as well as funding
Context/scenario: In the preparation of the European Cultural Year, refocusing the offer of the National Youth Centre
Target group: Young people in Youth Centres, in Youth Clubs, in schools
Brief description of activities: The project comprised three stages: a) an enquiry concerning the existing offer b) launching of culture as a priority issue; supporting innovative
projects, development of educational tools, documentation of good practice, directory of experts c) evaluation
Partners involved: SNJ
Budget/funding (if available): 50000 for 3 years
Year: 2004-2006
Lessons learned: there is a huge demand for creativity oriented activities
Results (if any): the project was a break through towards establishing the programme theme promotion of young people’ creativity at the SNJ, nowadays there are relevant partners:
Rockhal, Saltimbanq’, TNL (Théâtre national du Luxembourg), UGDA (National Cooperation of Music Assocations), INEC (choir singing), the overall budget amounts to 200000
Euros. Most of the projects are carried out in partnerships.
url: http://www.snj.public.lu/dossiers/campagnes/2004-06_expression-jeunes/index.html
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Name
Country
The Centre Eisenborne
Luxembourg
Name: The Centre Eisenborne
Timeline
Description
Organisation of educational seminars
Level
Local
Location: Eisenborne
Summary: The centre Eisenborn, run by the SNJ (The National Youth Service) in cooperation with CAJL (Luxemburg Youth Hostels Association), is located in a small village about
15 km from the centre of the capital. It is open for youth groups participating in the activities of the centre or organising their own training activities.
Context/scenario: The areas of operation:
•
Summer camps, leisure time activities, workshops,
•
Educational activities,
•
Financing youth projects.
Brief description of activities: The centre is used for conferences, seminars and symposiums. There are different activities organised to integrate tintercultural learning, human
rights education and education for active citizenship.
Some activities organized by the centre:
•
The Centre of Eisenborn organises with its partners of the Greater Region a seminar for intercultural youth leaders. The partners are coming from Germany, France,
German speaking community of Belgium and Liechtenstein. Every year, within this group, the centre organises an exchange programme for young people between 12 and
15 years.
•
The centre is participating as a partner with the Ministry of Education in a programme called ‘Débat d’élèves’ for active Citizenship in schools. Furthermore, the centre is
proposing team-building activities for schoolclasses and youth groups with fewer opportunities. The centre has experience in organizing educational projects with schools
and youth groups.
•
Since 2000 Eisenburg regularly hosts European Volunteers.
•
The centre is above all a meeting point for border crossing youth organisations of Saar-Lor-Lux-Germanspeaking community of Belgium and Liechtenstein. Training and
exchange programme are organised by this group in this ‘Grande Region’.
•
Furthermore they organsze international youth exchange programmes for 12-15 and 15-18 year old participants, international seminars on different themes and study
visits.
•
The Centre publishes a monthly youthletter and a trimestrial leaflet for young people and youth organisations
Target group: Young people; young people not involved in organisations, youth associations and organisations, youth centres.
Partners involved: The National Youth Service, Luxemburg Youth Hostels Association, The Ministry of Education, other youth organisations and education institutions.
Year: Ongoing
url: http://www.eycn.org/index.php?option=com_content&task=view&id=60&Itemid=30
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Name
Carnet Culture Jeunes
Country
Luxembourg
Timeline
2007 -
Description
Discounts for young people to access
cultural institutions
Level
Local
Name: Carnet Culture Jeunes
Location: City of Luxembourg
Summary: The City offers fifteen complimentary checks to young people that can be exchanged with entry tickets to the City’s cultural institutions.
Context/scenario: municipal cultural policy of the City of Luxembourg aiming at increasing participation of young people in cultural events, the Youth Department is in charge of the
distribution
Target group: young people aged between 12-25 years
Brief description of activities:
Partners involved: City of Luxembourg and its cultural institutions
Budget/funding (if available): There is no visible funding, the free tickets are provided by the cultural institutions
Year: since 2007
Lessons learned: “Nice try, excellent offer, but the outcome is rather disappointing. Possible reasons for this: too narrow focus, overlapping with carte jeunes, unrealistic design of
91
the measure. ”
Results (if any): 120 person per year have requested the card
url: none
91
The national report of Luxembourg prepared for this study.
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Name
Country
Earth Garden Festival
Malta
Name: Earth Garden Festival
Timeline
Since 2006
Description
2-day art/environment/music festival
Level
National (festival)
Location: National Park, Ta Qali, Malta
Summary: Launched in 2006, the aim of Earth Garden Festival is to set examples on environmental, artistic, musical and cultural platforms. The festival is held over a two-day
period. For the first time in 2009 the Earth Garden Festival did also include a space for children, named the Earth Garden Kid's Edition. Promotional material is printed on recycled
paper, andthe use of plastic materials is minimised. As for the 2009 edition, the art area was restructured in a way that it required less artificial illumination. The use of floodlights is
also reduced by usingf lamps made from recycled material, and the whole Festive Grove area wasdecorated with hand-made, recycled items.
Context/scenario: Multi-cultural, environmental, and artistic awareness.
Target group: Given the large number of activities the target group can vary from teenagers to the elderly. Within the open areas of the festival, there are two main areas; one for
younger generations (18-40) and another more family-oriented.
Brief description of activities: Some of the highlights include art exhibitions, theposibility to watch artists at work, live music of various kinds, and an ethnic market. The Festive
Grove is an area characterised by jamming sessions ,reggae and world music sets. As of 2009 the festival also featured a Philosophy Café, a discussion space managed by a
number of lecturers from the University of Malta, where the theme of discussion centred on environmental concerns.
Partners involved: Exit Events, Tribali Music and D. Artz
• Exit Events are music event organisers that operate in Malta with more than ten years of experiece.
• Tribali Music, is formed by musicians inspired by extensive travelling, especially in Asia, and featuring a mix of world and western music. Launched in 2004, they are locally
renowned for their originality.
• D.Artz is an organisation that promotes monthly events, concentrating on world and jazz music and visual art.
Budget/funding (in available): Estimated for the 2009 edition:
Total Cost: €45,000
Funding from Private Sponsorships: €30,000
Year: 2009 (3rd edition)
url: www.earthgarden.com.mt
www.facebook.com/home.php?ref=home#/group.php?gid=8119414716
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Name
Qormi Wine Festival
Country
Malta
Timeline
2009
Description
A two-day festival
Level
Local (festival)
Name: Qormi Wine Festival
Location: Qormi, Malta
Summary: A two-day festival that promotes local traditions related to food and wine making. It also gives the opportunity for local wine to compete in the biggest competition ever
held in Malta.
Target group: Mainly 20-40 year olds
Brief description of activities: The two-day festival is dedicated to wine. However, several other activities help make this event attractive to people other than wine lovers. There
are also floral competitions and a number of art exhibitions including photography, paintings, and antiques. Live Music is played in several stages, which feature traditional Maltese
folk music and dancing, as well as concerts by contemporary artists.
Partners involved:
• Qormi Local Council
• Ministry of Agriculture and Rural Affairs
• Malta Tourism Authority
Budget/funding (if available): €20,000
Year: 2009 (5th edition)
Lessons learned: The organisers, young people in their 20s, reveal that among the many lessons learnt from organising this event are:
• Team co-ordination
• Event organisation
• Finding sponsors and financial support
• Marketing techniques
Results (if any): The consolidation of cultural traditions, especially amongst the Qormi community.
url: www.festiesterniqormi.org
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Name
European Youth Week
Country
Malta
Timeline
2008
Description
Framework programme for several
activities around the country
Level
National / international
Name: European Youth Week 2008
Location: All around Malta, with the main activities held in Freedom Square in the capital city of Valletta.
Summary: Various activities such as discussions, workshops, sports, visual art, music and drama were organised to celebrate young people and youth culture. Young people also
had the opportunity to take part in a number of organised activities, with each day of the week focusing on a specific theme regarding youth such as health & well being, leisure,
employment, environment and national youth policy.
Context/scenario: The European Youth Week 2008 celebrated the twenty years of European youth programmesIn November 2008, manyevents were organised in the 31 countries
participating in the Youth in Action Programme.. The European Youth Week 2008 was also dedicated to "intercultural dialogue" – the EUtheme of the year.
Target group: Maltese and European young people
Brief description of activities: The main activities, held in the Freedom Square, Valletta, the capital city, included discussions and workshops held by the Malta Association of
Youth Workers (MAY). A number of sport activities were organised in collaboration with sports associations under the Malta Sports Council. Local bands, garage bands, singers and
also drama groups were given the opportunity to show their talentduring the event. Young artists also had the opportunity to show their work. Hastings Garden and Merchants Street
hosted youth NGOs and organisations working with young people.
Partners involved: European Union Programmes Agency (EUPA)
Parliamentary Secretary for Youth and Sports
Malta association of Youth Workers and many other youth organisations.
Year: 2008
Lessons learned: The discussions and workshop projects were aimed at giving an opportunity to young people and policy makers to dialogue. The next National Youth Policy,
currently being discussed and drafted is an extension of that dialogue.
url: http://youthweek.eu/
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Name
Stranger Festival
Country
The Netherlands
Timeline
Since 1997
Description
The biggest event in Europe for
young video-makers
Level
International
case study
Name: Stranger Festival
Summary: An international festival that brings together thousands of young Europeans, NGOs, media companies, governments, foundations, corporations and research
organisations around video making (see more at Partners, Media Partners and Sponsors and funders). StrangerFestival is open to new partnerships regarding content, exposure and
funding.
In 2009, StrangerFestival organised:
•
More than 25 workshops in more than 20 countries
•
An open competition for young video makers
•
The StrangerFestival in Amsterdam October 2009
The Stranger website will grow into an open archive of European videos.
This example is further explored in the next chapter.
146
EACEA/2008/01 (OJ 2008/S 91-122802)
Name
M2LIVE
Country
The Netherlands
Timeline
2005 -
Description
Building bridges between
people and museums
young
Level
Local
Name: M2LIVE
Location: Bonnefantenmuseum, Maastricht
Summary: M2Live is a yearly Museum Marathon from 2 pm. to 2 am. organised by young people aged 12-18and held in and around the Bonnefantenmuseum in Maastricht. At
M2Live there are guided tours in the museum, performances and other cultural activities.
Target group:
12-25 years
Brief description of activities: The Bonnefantenmuseum has an important school programme for young people. Some years ago the education department wanted to develop a
programme for youth in their leisure time. Every year the museum organises M2LIVE, a programme for youth and developed by youth. At M2LIVE junior and student guides give
guided tours in the museum (‘Art Trips’). During this event student-artists can expose their work or talk with museum staff and artists. At M2LIVe a young filmmaker is awarded with a
Film Price. Next to these events, there are 4 stages with music, dance, poetry... There are 100 performances by approximately 450 young people. The youngsters are part of the
organising, production and programming committees. The young people carry out the communication and marketing of the event. A big afterparty closes the event.
In short:
-
10 junior guides and 10 student guides are trained to give tours (they receive a certificate useful for their future careers)
16 young people form part of an advisory committee (for the development of the programme)
50 young people help with practical issues during the day
450 artists (100 performances) are selected by young people
Young people are recruited via different channels: via other young people, high schools, universities, youth organisations.
An intensive preparation from 2 to 3 months
The young guides follow an intensive training course: 5 hours during 6 weeks
The objective of the programme is to introduce the museum to young people in an alternative way. The encounter and the experience are focal points. The Bonnefantenmuseum
aims at convinving the publicthat museums can be fun.
Partners involved: The municipality of Maastricht and the museum itself.
Budget/funding: There is a budget of 50000 Euro for this event (of which in 2008 11000 Euro came from the budget of the museum and of the rest from the municipality of
Maastricht).
Year: M2Live was first organised in 2005 and now takes place every year.
Results (if any): Young people are attracted to work and organise events in a museum. Young people that normally do not visit a museum are invited to come, because of the many
sub activities. The guides receive a certificate. The youngsters are deal with a lot of responsibility, but of course experience also a lot of satisfaction and appreciation. According the
education department, M2LIVE has achieved in buildingbridges between a museum and youth, and to make museum more accessible.
Url: http://www.m2live.nl
147
EACEA/2008/01 (OJ 2008/S 91-122802)
Name
PopSport
Country
The Nerherlands
Timeline
2004 -